Songs Of The Day: New Music From Karun, Kwami Eugene, Suté Iwar & More

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amid this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. On Monday, we shared new music from Moonga K., Ibeji, Skillz 8Figure, Kwaku DMC, Laycon, Bahati and more. This Wednesday, we have new drops from Davido, Karun, Kwami Eugene, Ubuntu Brothers, and more.

Davido – “Stand Strong” ft. Sunday Choir

Following the release of his first solo single for the year, “Stand Strong,” Davido has followed this up with the song’s official video. Featuring Sunday Choir, the beautiful video is shot on an island beach. It progresses from clips of Davido sitting in a room with rays of Sunshine as he watches himself through an old television box. As the second verse opens up, Davido is seen fraternising with his fans sending a clear message that he’s appreciative of their support.

Jinku & Karun – “Passenger 555”

Off their forthcoming collaborative EP, Kenyan singers Jinku and Karun have released a new single titled “Passenger 555.” Thematically, the song tackles the fact that change is inevitable which is symbolised through the angel numbers ‘555.’ Over the catchy slow-tempo production, Karun and Jinka take listeners on a spiritual sonic journey against a backdrop of swelling keys and a delectable bass guitar line. “Passeneger 555,” also serves as the promotional single for their collaborative EP of the same name, which will be released later this year.

Fireboy DML – “Playboy”

Since its release earlier this year, Fireboy DML’s “Playboy” has been making the rounds on local and international charts. Now the singer expands the world around the song by sharing the official video to his latest single. Just as the name suggests, Fireboy plays the neighbourhood playboy who is surrounded by a multitude of beautiful ladies. Across the visual feast, viewers can see cameos from Rema as the pair feature in a casino scene while playing against a group of women.

Kuami Eugene – “Take Away”

For Ghanaian singer Kuami Eugene, music is a euphoric experience. After experiencing enormous success at the Indigo at the O2 which he performed at earlier this year, the singer has now shared his first single of the year titled, “Take Away.” The infectious number finds him pouring out his affections for a love interest whose affections for him are fickle and monetary based. Singing lyrics such as “If you no get money, anything you say be funny/They are taking your babes away,” Kwami Eugene delivers a catchy and enjoyable track. “Take Away” also serves as the lead single from his upcoming EP ‘Rags 2 Riches’.

Suté Iwar – “Alright, Ok”

Following the release of 2021’s ‘199X,’ Suté Iwar shares a new single titled “alright, ok” which comes released with a new video. On “alright, ok,” Sutè Iwar tells a reflective story in a monochrome video. Telling the story of two people in love, the monochrome effect creates a powerful visual which tells a story about love and loss.

Ubuntu Brothers – “Barcadi WayY”

Multitalented South African songwriters Ubuntu Brothers share a new track titled, “Barcadi WayY,” an Amapiano number amid the current piano craze. Taken from their album ‘Everlasting – 5th Musical Episode,’ the song lacks vocals which is a reflection of their talent as producers getting you completely hooked with the instrumentals. The log synths live to a true testament that Amapiano gets you up with an energetic vibe.

Phinoshey – “Good Feels ft. An!Les

Not much is known about Jazz and Hip-Hop rapper Phinoshey. On his latest release, “Good Feels,” the rapper incorporates melancholic quips, poetic refrains and dreamy lyrics to create an enjoyable listening experience. The new single also features songbird An!Les whose high pitched vocals complement Phinoshey’s sure flow, as the pair preach together on positivity.

Featured image credits/NATIVE

Essentials: Jess ETA Finds His Voice On ‘Playing With Fire’

In 2021, Nigerian singer Jess ETA emerged victorious as the winner of the sophomore edition of Audiomack’s Rising Star Challenge, beating out 299 other artists from around Africa who wished to lay claim to the prize. Following that euphoric high, he’s followed up with a smattering of snazzy Pop singles including “Skata,” and “Body On Fire” featuring BNXN and Inci. Now the singer has shared his sophomore EP titled ‘Playing With Fire,’ an 11-track offering that finds him old in Afropop, RnB and splotches of Dancehall and Soul Music into a unique concoction of escapist sounds.

Over the 11-track offering, Jess ETA offers a coming-of-age body of work that showcases his growth since his 2020 debut EP ‘Balance.’ Through the songs, you can almost trace the arc of a musician shedding his past sound, finding his voice and making more resonant dynamic music. While Jess’ voice on this project is more refined and sturdy, he’s still experimenting — shuffling primarily between the thrumming percussion of Afrobeats and the syrupy melodies of R&B. The project’s mood spans themes such as love, loss and longing, and is moonlighted by the typical jovial themes that are characteristic of archetypal Afropop records.  

 

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From the opening track “Neon”, it’s immediately obvious that Jess ETA has grown since his last project in 2020. Over the song’s catchy production, he lays out his syrupy vocals against a backdrop of Classical and Soul influences. Frya’s effort on the track is electrifying and palpable, her powerful vocals percolate through the track imbuing it with a poignant essence. From a musical standpoint, the record is a laudable work of art, but upon close inspection, his lyrics are out of depth.

The disparity between his sonic ingenuity and his lyrical prowess on this track is almost comparable to North and South. The whole track is set up for Jess to deliver a heartfelt story or message, instead, he remains closed off and relies on ambiguous phrases to tell his story. This precedent becomes a recurring motif that hides in the shadows and pops up in select times. Like on “Raging” where he populates the infectious House beat with foggy lyrics that narrowly convey the depth of his emotions. 

His songwriting in general however, is dazzling across the project. His strongest points both lyrically and sonically occur on the R&B records on the record. “Pick Me Apart” is one of those almost-flawless tracks. Over erupting bass riffs, his voice contorts as he traverses a range of emotions expressing heartbreak. His tone matches his words, the longing in his voice is palpable as he sings “Pick me apart, tear me to pieces, pain is the price to pay for falling for you”. On “Easy”, another R&B track, he shines dazzlingly bright. It’s hard to spotlight the standout feature on this record as every single element aligns to form a majestic romantic ode. His message on this song is both concise and vivid: it’s hard loving you, but I do. On “Lay It Down” he follows a similar arc, delivering a breathtaking performance. 

The project is replete with guest artists, from Abuja’s Psycho YP to BNXN, but his brightest collaborative efforts are his tracks with Azanti and Psycho YP. The ease with which they bounce off each other’s energy is almost unbelievable. On “Dangerous”, he taps Azanti for a mid tempo number which finds the pair firing off lines about an untrustworthy lover. Their synergy is so sleek with each one picking up where the other leaves off. 

On the Psycho YP-assisted “Paralyzed”, the rapper steals the spotlight with ease, as he flecks the beat with his gritty delivery. However, the pair still make a fared match as they bounce off each other’s palpable energy. While Jess’ finest points occur on the R&B tracks on the project, with the Afropop numbers, he shows that he’s capable to play to different tunes, regardless of the challenge. The Afropop records see him take respites from grappling with the weighty topics of heartbreak and uncertainty, and instead delivers archetypal impressionistic Afropop motifs.

On “Below”, he displays this in earnest. The record does not aim for anything ambitious, he simply lets loose and lances the beat with jovial carefree lines. With “Below”, Jess shows that he has Afrobeats in his DNA. His flows, adlibs and syncopations all lend themselves to this premise. The highlight of the track occurs over the hook when he coolly sings “As we dey konko below, e dey freak my choco milo”. 

‘Playing With Fire’ may seem dynamic but it never feels restless. As Jess traverses a convoluted arc, experimenting with an assortment of sounds, he remains collected, anchoring the eclectic project with the familiar themes of love, attraction and heartbreak. While the singer never gets too deep or vulnerable, he’s able to balance this out with irresistibly compelling music and a mutating sound that ensures that there’s no dull moment through the project’s 30-minute run time.

Stream ‘Playing With Fire’ here.

Featured Image Credits/Instagram

Beats By Dre & Daily Paper Launch Their Debut Collaboration Featuring Unknown T

Today, Beats By Dre and Daily Paper unveil their debut collaboration titled ‘Connected Through Sound.’ The new collaboration finds the two brands coming together to create a Hip-Hop inspired Beat Studio Buds which is heavily influenced by New York City’s 80s and 90s hip-hop and graffiti scene.

 

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The designs champions freedom of expression, featuring the Beats signature logo in black and graffiti inspired version of the Daily Paper shield logo in red. The charging case makes a statement with various black and red Daily Paper tags scrolled all over the front and back. To complete the set the exterior box packaging is covered in Daily Paper tags with a custom co-branded decal inside.

Speaking about the collaboration, co-founder and director of Daily Paper shares:

“Music is one of the most important brand pillars for us as it brings our community together. Working with Beats has always been on our wish list of collaborations. It’s also an extension of the current SS22 collection which is inspired by hip-hop culture.”

The campaign also features a short video with Ugandan-British rapper Unknown T as the hero talent. Starting off in his bedroom where a young T is scribbling down his earliest lyrics, the video follows his musical journey into a fully-fleshed young rapper capable of commanding a stadium full of devoted fans.

As a long time friend of Daily Paper, the Hackney-born rapper was a perfect choice to launch the new collaboration, as he also connects music and cultural heritage in his music. Directed by the multifaceted Ciesay from Places + Faces, Unknown T shared about his heritage, environment and what influenced him to become an artist and the man he is today.

The special edition collaboration will launch globally online at www.dailypaperclothing.com/collections/beats and across Daily Paper Flagship stores in Amsterdam, NYC and London, on Thursday May 26 at 12 PM CEST priced at US: $149.95 / UK: £129.95 / NL: €149.95

Watch ‘Connected Through Sound’ with Unknown T below.

Featured image credits/DailyPaper/BeatsByDre


ICYMI: PROJECT RUNAWAY

Ayra Starr, Shaybo, Uncle Waffles & More Are Set To Perform At The 2022 LadiesLoveHipHop Festival

This summer, LadiesLoveHipHop — a cultural and creative movement in Sweden set up in 2014 as a DJ collective by Nataša Marijana, Rebecca Tegegne and Linda Nápoles is set to host a two-day LadiesLoveHipHop festival in partnership with Live Nation and Luger.

 

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Led by NATIVE cover star, Ayra Starr and UK rapper Stefflon Don, both will unite some of the world’s best artists and DJ’s, across Hip-Hop, R&B, Soul, and Afropop, at Fållan & Slakthusområdet  on the 19-20 of August. The 2022 Ladieslovehiphop Festival is a one-of-a-kind itinerant festival, with the strong purpose and ambition of contributing to a more diversified and equal live music scene across the world, as it has demonstrated by its women-led artist line-up across the two-day event.

Joining the headliners is Baby Tate, Shaybo, Ivorian Doll, Dreya Mac, Ojerieme, as well as Swedish Grammy (Grammis) nominated genre-bending artist and DJ Nápoles and Britist R&B and jazz-rising star Jaz Karis. The event will also host vibrant DJ sets from some of the bestdisc jockeys in the game, including Amapiano sensation Uncles Waffles and more.

Curated across three different stages, the LadiesLoveHipHop Festival will give visitors a rich and expansive experiential weekend, not only courtesy of the amazing line-up of female artists that have been highlighted to perform, but the festival will also offer rich food, exciting art installations and exhibitions, in addition to the much anticipated live performances. As the date nears closer, more acts are promised to be announced and will feature women at varying stages of the professional music careers.

To stay tuned on the latest with the festival, read more here and buy tickets here.

Featured image credits: Instagram/MWTV


ICYMI: PROJECT RUNAWAY

TurnTable Top 50: Five new songs debut in this week’s top ten

Friday, May 13th, was an eventful release date for Nigerian pop. There were variably touted new singles from Burna Boy, Davido, DJ Spinall and Asake, Zinoleesky, the Don Jazzy-led Mavin camp, amongst others. All of that was happening while the best rapper in his generation dropped his first album in five years while in Ghana, and even though that commanded its fair share of attention, Twitter timelines on this corner of the globe were very much dedicated to the releases of its home superstars.

That’s reflected in this week’s TurnTable Top 50, which includes five new entries debuting in the top ten—the most new top ten entries since Davido sent in five new tracks with A Better Time. This time around, Davido is involved in just one new entry with his gospel-inflected “Stand Strong,” featuring Sunday Service Choir, which enters this week’s chart at No. 6, on the back of 56.3 million radio impressions (No. 2 on radio) and 2.94 million equivalent streams (No. 10 on streaming). Just above, the Mavin cast’s “Overloading (Overdose),” released to celebrate a decade of the label, opens at No. 5 with 4.42 million equivalent streams and 41.5 million radio impressions.

Zinoleesky warmed the hearts of many with “Loving You,” the romantic record which samples Asa’s seminal “Be My Man,” and it debuts on the TurnTable Top 50 at No. 4. It’s preceded by Burna Boy’s anthemic and vulnerable single, “Last Last,” which enters at No. 3 with 6.64 million equivalent streams and 21.9 million in radio reach. It’s also the afro-fusion giant’s tenth entry into the top ten, which places him behind just Davido who has fifteen top ten records. Meanwhile, Asake—who occupied the top spot with Burna a few weeks back—makes his biggest debut on the top 50, with his DJ Spinall collaboration “Palazzo” debuting at No. 2 with 6.36 million equivalent streams, 38 million in radio reach, and 1.61 million TV impressions.

Amidst all of these new entries, Kizz Daniel continues to reign at the apex of the TurnTable Top 50. His Tekno-assisted instant smash, “Buga,” remains at No. 1 for the second week in a row, tallying almost twice as many chart points as the next song trailing it. This feat is additional testament to Kizz Daniel’s powers as a prolific hit-maker, seeing as he was recently named the top artist for the first quarter of 2022, following the prolonged success of multiple singles from his last project, ‘Barnabas’.

Rounding out this week’s top ten, Ghanaian singer Camidoh continues his run, with “Sugarcane (Remix)” slipping three spots to No. 7, while Black Sherif’s former No. 1 song “Kwaku the Traveller” falls six places to No. 8, and Fireboy DML’s “Playboy” descends to No. 9. Young Jonn’s “Dada (Remix)” with Davido is at No. 10, moving down three spots from last week’s position.

You can check out the full rundown of this week’s TurnTable Top 50 here.


ICYMI: CELEBRATING A DECADE OF MAVIN RECORDS WITH 10 STANDOUT SONGS

Review: Obongjayar’s ‘Some Nights I Dream Of Doors’

 

Obongjayar’s arrival into the music scene wasn’t glossed over. His was a silent but effective entry, taking years to develop his artistry whilst completing a university degree in Norwich. A move to London followed shortly before the release of his debut EP, ‘Home’ in 2016, and not long after, publications began to take notice of him, pulled into the entrancing universe of Obongjayar.

Six years have passed since the haunting chords of “Creeping” were first shared with the world. In the pace of today’s streaming era, a lot can happen during that time. An entire career could begin and end, supposing it was built on temporary stilts of virality. Not his though: Obongjayar’s artistry is a solid rock. He’s accustomed to being different from his younger days in Calabar and has updated his sound with every project. Casual listeners might think of him as esoteric, but there’s no doubt that a shining humane quality permeates the core of his records. Across Afropop, his illuminating perspective is bettered only by his voice, a tour de force which other elements of his skillset revolve around. 

Having established that Obongjayar’s strength is his independence, it’s the reason his debut album coming six years after his introduction feels like no anomaly at all – even though it is certainly an anomaly in today’s music business. But then Obongjayar’s music recalls nothing of the strict poise of an official lifestyle. It’s flamboyant, carefree, instant and wrapped around flaming balls of sound which gather clouds from genres as diverse as Afrobeats, Funk, electronic music, Jazz and Hip Hop. 

The release of ‘Some Nights I Dream Of Doors’ was trailed by an admirable rollout. The musician’s colourful performance on Lil Simz “Point And Kill” broadened his homeward appeal and also followed into “Message In A Hammer”, an incendiary response to the frustrating excesses of the Nigerian political elite. It was released exactly a year after the October 20, 2020 Lekki massacre.

These moments of awareness, coupled with Obongjayar’s flair for features cut a favourable figure of the 27-year-old. He appeared on the radar of influential tastemakers in Afropop, getting on playlists and publications. His profile with The NATIVE intimately collected his idea of dreams, the narrative prism through which he frames ‘Doors’. “All The Difference” therefore portends an emotional cornerstone of the album. Across four verses Obongjayar tenderly paints his relationship with his grandmother, who was his guardian and shaped his earliest values. “Turn our guard down, I was weightless with you/ It was my first time/ I was so scared and it changed me like a good song,” he sings over soft drums. 

 

 

The union of family is important in Obongjayar’s exploration of dreams. He belongs in the realm of musicians who understand that loving home is one’s first step towards loving the world. Singing how he does only goes one step of the way. His portraits of immediate family members complete the mix. “I Wish It Was Me” is rendered at the feet of his younger brother like a glorious spread of roses. Such a record shreds normal typical expectations of masculinity, especially within black households where parental trauma can increase the likelihood of emotional distance between siblings. Before the album’s release, Obongjayar shared a clip from his recent trip to Nigeria: he performed for his family, backed by the evocative strings of “I Wish It Was Me”. He sounds exactly the same as on record. “When you pray you’re answered, you walk through life just like a dancer/ If I had my way everyday would be your parade” he sings, and by the time he gets to the chorus of “Ooh, I adore you”, you can almost feel the intensity of the teary eyes around him. 

The peculiarities of this relationship between Obongjayar and his brother can also be framed within a larger context. The seminal basketball documentary ‘Hoop Dreams’ was the spur behind its title and within its narrative centre are also two male characters. Obongjayar being an artist takes the plot device into the motions of his own life. Thus the titular ‘Doors’ can be interpreted in many ways: on leaving one’s home; on the transcendental nature of music, or on the progressive relationship between timelines—in his own words, “constantly going back into your life and taking experiences that help you grow”. 

This tussle with history is laid bare across Obongjayar’s catalogue.

His possession of critical love and increasing commercial presence can also be said to contribute to his outlook, layered with soulful vocals. Some songs on ‘Doors’ thus carry the satisfying nature of watching a feather float in air. “Wrong For It” is one of those, a whistle-led record which features the Jazz musician Nubya Garcia. Obongjayar sings for the kids who are apprehensive of appearing too full with dreams. “Stop trying to please everyone else, stop trying to fix everything/ This town gets smaller the taller you get” he sings with charming wisdom on the chorus. On “Sugar” he name-checks his native area of Atekong in Calabar—who thought he’d make it this far? The expansive nature of Barney Lister’s groovy percussions teases what is arguably the most exciting-sounding song on ‘Doors’.

 

Such journeys do not take a straight course, however. ‘Doors’ has its moments of startling vulnerability. Songs like “Parasite” and “Some Nights I Dream Of Doors” are the equivalent of a movie character entering a gloomy phase, the necessary grey before a sweep of perspective reintroduces colour to their existential worries. The former adopts a medical concept as Obongjayar requests a doctor’s explanation for the sickness inside his head. Depression isn’t explicitly mentioned but hinted at (“the pain you don’t see, it don’t mean it don’t exist”), allowing listeners to translate as they understand it. The titular song carries the heft of a cinematic masterpiece, propelled by dreamy chords which evoke sustained melancholy. Obongjayar’s singing plunges the depths of the feelings he sings about; here he most resembles forebears like Bob Dylan and Asa, evoking rich sensory detail with remarkable minimalism. “Some nights I dream of doors,” he sings, “my obsession will drive me to the end or set me free”. 

He’s indeed set free in the latter parts of the album. An interlude titled “My Life Can Change Today” supposedly records the artist waking up over the course of a year to say the words of affirmation; it’s surprisingly one of the lighter moments on the record. “New Man” follows immediately, soaking in the returning gains of optimism. With calculated ripples of war-like percussions, it is boisterous in its proclamations of an elevated identity. “This that new black shit, we fly for the ones before us” he raps, before acclaiming “I was born warrior, I come second to no one/ See my skin, hear my tongue, I’m no man I’m a god”. 

While Obongjayar reached closer to his Nigerian roots, he made Sweetness with Sarz. On four songs they combine for a futuristic take on Afropop, lined with electric flourishes from eighties Disco. Obongjayar took an obligatory step into the romantic tension embedded in Afropop’s thematic material, revealing a richer layer to his vocals. A record like “If You Say” is sonically advanced by “Tinko Tinko”, which has one of Obongjayar’s most heartfelt performances on ‘Doors’. The song situates him in the familiar but distasteful role of being an acquaintance when you’d rather be the person’s lover. Tenderness is ceded for clarity. “Don’t play me for a fool, I’d rather be alone than be next to someone who don’t feel like I do,” he sings with exhilarating awareness, before posing the million naira question: “Are we in love or are we just comfortable?”  

The transcendental nature of music then becomes necessary to take one through such motions of life. Whether good or bad, purposeful notes of sound can make everything more bearable. Carried on ethereal piano chords, “Wind Sailor” is the perfect closer for an album like ‘Doors’. There are undertones of racial discrimination (“it’s getting harder and harder for people like us”) as Obongjayar plunges deeper into the listlessness of being an outcast. “I keep losing faith in everything” is an astute description of the greyness of being burdened by dreams, but such nihilism doesn’t portend the final narrative. Music being the wind sailor becomes his “saving grace [and] only hope” and when the song ends with the teary-eyed assurance that he’ll be okay, you’re inclined to believe him. 

Owing to its assortment of premium artistic virtues, ‘Some Nights I Dream of Doors’ emerges as a remarkable debut album. Not only is Obongjayar’s pen graced with poetic economy (“living in troubled waters, every stroke is war”), the amorphous nature of his vocals can go a thousand ways, but mostly flames with the ferocity of an ancient storyteller (“Message In A Hammer”) or softens with warm lulls (“Wind Sailor”). On “Try”, he reaches the extremes of his impressive tonal range, producing a compelling performance which sets the ball rolling for what to expect throughout the album. 

His choice of twelve songs also complements the album’s breezy allure. Barney Lister produces eleven songs out of those, extending their creative partnership from ‘Which Was Is Forward’. While that project was edgier, ‘Doors’ benefits from a lived-in understanding of Obongjayar’s vision. With the exception of bops like “Sugar” and “Tinko Tinko”, the production unfurls purposefully in the background. Dramatic chords are often employed to heighten the flair of Obongjayar’s singing; other times, bursts of percussions and synths further pronounce the flagrant movements familiar with the artist. 

The British music scene witnesses an overflow of talented artists every day, but Obongjayar remains uniquely him. What you find in ‘Doors’ is simply unattainable anywhere else, and it helps that his eclectic artistry doesn’t obscure one’s true need for narrative background. After seeking home through a trio of short projects, he arrives finally. ‘Doors’ is timely because the movement of people across several nations of the world comes with baggage which you won’t find in news reports. But now we see how powerfully a dream can grip one individual, and the vessels of emotions it pours into–whether familial, romantic or political. “The catch with dreaming is that the dream never ends”, Obongjayar said to me months ago. This album, too, never ends. For as long as someone out there in the world dreams of creating a better future for themselves, whether through art or anything else, there will always be the timeless motions of this album to soundtrack their efforts.

Listen to ‘Some Nights I Dream About Doors’ here:

Featured image credits/NATIVE


ICYMI: NATIVE Review: ‘Rave & Roses’

Best New Music: Buruklyn Boyz are living their best life on “Confession”

A renaissance in Rap music—particularly the Drill sub-genre—is prowling through Africa. From sprawling neighbourhoods in Nairobi, to bubbly clubs in Abuja, to the ends in Accra, the movement is precipitously percolating through every crevice of the continent. There’s no smoke without fire, and the Kenyan duo Buruklyn Boyz are some of the most exciting voices at the forefront of Drill music in Africa.

Hailing from Buruburu Estate, a sprawling neighbourhood in the heart of Nairobi, the duo has amassed throngs of loyalists, carved a lane for themselves, and exported their city to the world. In the time since their debut, they’ve honed in on their Drill fascinations and hit the ground running with their seminal, late 2020 hit song, “Nairobi.” In subsequent months, and over several singles and a new album, Buruklyn Boyz have consistently marked Kenya’s Hip-Hop scene with their irresistible essence; from their ominous rapid-fire bars delivered in a melding of Swahili and English, to their utterly compelling fashion sense; they always ooze undiluted swagger.

 

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“Apart from just doing music, we are also involved in entrepreneurial activities. We own our own clothing line selling B-Boy pants, shirts and durags,” the group’s manager said in a Buruklyn Boyz profile on Pan African Music. Ajay and Mr. Righht are not just a Drill duo, they’ve transcended that echelon and moved into the status of being cultural icons to the youths. Given their elevated iconography in the past year, a song for the culture is the right place for them to erupt and connect back to the culture that spawned them, and that’s the function that “Confession”—a standout off their just-released debut album ‘East Mpaka London’—serves.

The mood of Brukulyn Boyz’ music is largely defined by a dark, ominous ambience, but on “Confession,” they let in a stream of sunlight, to deliver one of their sleekest offerings—an upbeat anthem tailored to a young African audience. Over a beat that glints like sheet metal, they trade bars about sex, money and success. The beat is one of the most compelling features about the track, and its spellbinding quality offers the duo plenty of space to operate, without needing to intrigue with otherworldly flows. Ajay and Mr Right cut to the chase with their raps, which functions to accentuate the levity of the track.

“Confession” is not an attempt to conjure awe-inspiring punchlines showcase their lyrical prowess, the record is a feel-good anthem that showcases their successful lives. Years of ploughing through the dust has culminated in a successful career for the pair, and the song functions as the celebratory soundtrack of their newfound opulence and, predictably but aptly, serve as a brazen rebuttal to their detractors. “I’m healthy; check, wealthy; check/bad energy, don’t care about them,” they rap on the memorable hook.

 

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One interesting feature of the track is how it spotlights the synergy between the duo. Ajay, who is the muscle of the team with regards to crafting verses, pulls his weight, populating the track with gritty self-aggrandising lyrics. Even though the record is a breezy feel-good anthem, he barely keeps himself from hitting hard at his critics and contemporaries, and skirts the fringes of pensive introspection. Mr Right on the other end of the stick, is known for his hook-crafting prowess. On “Confession,” he intersperses the track with sunnier lyrics about sex and wealth, offering a breezy counterpoint to his partner’s headier inclinations. No one upstages the other, though, with their styles blending and bouncing off each other, creating a familiar but still fresh hybrid that eases into the mutating soundscape of the song’s beat.

The sleek chemistry between Ajay and Mr. Right is what makes Buruklyn Boyz one of the most compelling duos on the continent. It’s the foundation of their new album, where they expand their thematic range and find new layers into their Drill-based sonic universe. At their best, hearing a Buruklyn Boyz track can feel like a majestic walk through the streets that shaped them, and a vivid representation of their ethos, imbuing you with a fresh dose of infectious ambition and euphoria. “Confession” adds to the list of great Drill songs within the burgeoning African renaissance, the marker of a new summit for two pioneering voices.

Listen to “Confession” here.


ICYMI: MOLIY’S “9 TO 5” CELEBRATES THE JOY OF UNCONVENTIONALITY

Songs Of The Day: New Music From Moonga K., Skillz 8Figure, Ibejii & More

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amid this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Last Friday, we highlighted songs from Gabzy, Yung L, DJ Tunez and more. This week we have new drops from Moonga K., Ibeji, Skillz 8Figure, Kwaku DMC, Laycon, Bahati and more.

MOONGA K. – “UP”

After a short hiatus, Zambian-Botswanian singer and uNder alum (formerly known as Fresh Meat) Moonga K. is back with an eclectic new single titled “Up.” The mid-tempo new single sees him reflect on his journey and achievements while focusing on his growth. As he prepares for the release of his EP ‘IV’ in July the song boasts a bright tempo production, complimented by airy, summer-like synths, lo-fi piano and elated trumpets.

Skillz 8Figure – “Stop” ft. Sherro

Sierra Leonan-born, Ghana-based single Skillz 8Figure came unto our radar with the release of his stunning debut EP ‘Gangsta Luv,’ a collection of songs that merged dancehall sensibilities with trap-soul melodies. Since then, he’s sustained the momentum by peeling back more layers to his artistry with each new release. His leats single, “Stop” is an upbeat Afro number touching on success and determination to move on forward. The beat switches mid song as the synths simmer down, providing the perfect back drop for Skillz and Sherro to fire off their catchy lines.

Ibejii – “Broken”

Afro Soul artist Ibejii has opened his calendar for the year with new single, “Broken.” The open confessional sees him tackle lost love. Off from his project ‘Post 19,’ “Broken” offers an intensity that takes listeners through a deep emotional journey. The fine blend of eclectic sounds enables Ibejii to display his musical abilities.

Kwaku DMC – “Akatafo Party” ft. Suspect OTB

As a frontrunner in the Asakaa movement, Kwaku DMC adds another canon into his catalog of hits. Off his recently released project, ‘Road to the Jungle,’ comes “Akatafo Party,” a gritty memorable track which highlights his rapid-fire abilities. Weaning his experience to give a universal feeling, he employs UK rapper Suspect OTB and the pair trade off bars about getting their shit popping.

Laycon & Tobi Shang – “2000”

After winning Big Brother Naija back in 2020, Laycon has taken on the music industry with his fierce bars. Now he shares his latest single, “2000” which feature vocals from Toby Shang. Over a beat laced with Afropop drums and Amapiano sensibilities, the pair tackle current issues that plague young Africans in this decade with lyrics such as “will you vote for me, we will get back to you.”

Bahati & Diana B – “Sweet Love”

The East African power couple Bahati and Diana B team up for their first official single titled, “Sweet Love.” The romantic number finds them singing about the good times as well as the tribulations in the marriage. The pair give an exquisite performance accompanied by detailed visuals showcasing their romance.

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NATIVE Exclusive: King Promise Took His Time With His New Album

For King Promise, the music has always been first. His early days as an artist found him letting his words speak for themselves, which earned him a growing presence online. While he pursued music as merely a side hustle during his early university days, he soon realigned his focus on his craft when he saw its propensity for success.

 

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First earning his stripes as an artist back on Soundcloud in 2017, Ghana’s King Promise began steadily releasing Afrofusion singles which finely merged a range of genres including Afropop, R&B and Highlife. Born Gregory Bortey Newman, the singer has spent the past few years establishing himself as one of the trusted voices in Ghana’s Pop scene with a string of notable releases including 2018’s “CCTV” featuring Mugeez, Sarkodie and R2Bees, and 2019’s “Call Waiting” with Joey B.

Unapologetically placing his Ghanaian heritage at the forefront of his sound, he’s built a catalogue of music that lets his talent do all the talking. In 2019, he released first LP ‘As Promised,’ with features from African artists such as Wizkid and Shatta Wale, which went on to become one of Ghana’s most streamed albums. Through consistent practise, he continues to hone his skills and further his global ambitions.

Taking time to create his music, he took a sabbatical from the music scene to concentrate on creating more music. Recently, he announced the release of his forthcoming album ‘5*’ with a romantic ballad “Ginger” which serves as its promotional single, joining a line of already released drops such as the Headie One-assisted “Ring My Line,” “Bad N Rude” with WSTRN, the Patoranking-assisted “Chop Life” and “Slow Down.” While these songs give a taster course to what fans can expect, the album also promises features from globe-throttling artists such as Vic Mensa, Patoranking, Omah Lay, Chance the Rapper and more.

Looking to write music that connects with his fans, ‘5*’ ushers in a new phase of his career. Through constantly betting on himself, King Promise has been able to hack the formula and create music that speaks to the base of his own existence and emotions. “Slow Down” acted as the first announcement of the album, with the singer narrating a story of broken love over a glitchy Afropop soundbed. WSTRN-featuring “Bad N Rude,” equally showcases his near veteran tendencies with impressive writing ability while his latest release “Ginger” sees him lean into delivering romantic quips with with honey tongued lyricism.

At each point on the new album, King Promise is making a statement: he’s spent years keenly observing the scene, learning his sound and trusting himself. Now, he’s making music that reflects his current standing, and drawing inspiration from his daily life as well as occurrences from all over the African continent. When we speak over Zoom, he tells me that what listeners hear in his music is as a result of his dedication to his craft. “When creating an album, I take 2 years to ensure it is meticulously curated with honeyed productions and that is what I have been doing,” he shares with the NATIVE.”

This attention to detail shines through on the forthcoming album. King Promise tells us that he spent his time with this album because he began working on it during the 2020 COVID-19 lockdowns. In this time, he was able to get closer to himself, to family, and to his hometown in Ghana which reinvigorated him with the tools he needed to take on his next album. “It is my most personal album as you can note from the released singles which speak of my growth from Boy P to 5 Star,” he shares.

Ahead of its release in June, we caught up with the singer to talk about his upbringing, his love for music, the creative process for ‘5*’ and the changes he wishes to see in the Ghanaian music scene.

Our conversation which follows below has been lightly edited for clarity.

NATIVE: Hi King Promise, how did you first get started in music?

PROMISE: I got into music when I was in school. Back then, it was more of a hobby rather than a career. Before finishing uni, I blew up, something I didn’t expect but I was earnestly hoping for. At this point, it was still more of a hobby but the conviction grew stronger and I began earning from my music. I really loved music as it was a huge part of my upbringing, eventually I became aware that I could actually sing. Professionally, I’ve been making music for about 4 years.

NATIVE: Growing up, your father was a music head and a lover of various genres, did this impact the sound of music you currently make?

PROMISE: Growing up there was music all around me, my dad ran a boutique in my home city. During the weekends and after school, I took care of the shop. Music was always playing, and as I was the one controlling the playlist, I played music that my father always played. All that moulded me into the artist I am today.

NATIVE: Who were some of your earliest musical influences?

PROMISE: I grew up on heavy Highlife music and all genres. Daddy Lumba, Bob Marley, Westlife,Shaggy, Usher, Ne-Yo. I feel like my influences are a mix of various genres mostly Highlife thus influencing the sound and type of music I make.

NATIVE: You had a long break from music, what prompted you to take it?

PROMISE: Honestly, there was no reason. It was over a year where I was mainly concentrating on making music. Beforehand I was touring and didn’t want to rush into making and releasing music. When creating an album, I take 2 years to ensure it is meticulously curated with honeyed productions and that is what I have been doing.

 

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NATIVE: You are set to release your new album ‘5*’ next month, what has been the inspiration behind the project and what prompted the name?

PROMISE: I began making the project during lockdown when I got back to Ghana after my tour. I got to be home, become closer to family while taking note of my growth in both my romantic relationships and my finances. It is my most personal album as you can note from the released singles which speak of my growth from Boy P to 5 Star. When I started off my career I was under the moniker Boy P, and I am at the point where the public sees my growth. Basically ‘5*’ is a lifestyle, everyone around me is a 5 star. I stand for good stuff and ensure the best standard of music is dished out.

NATIVE: Your recent release “Ginger” revolved around romance, should we expect more of love centred themes in your project?

PROMISE: I am exploring a plethora of topics. The album is very diverse, touching about love, money and definitely a little bragging. “Overthink” and “Iniesta” talk about my journey and where my head is at. It’s just good vibes and energy as I had fun while making my album. I want my fans to experience that same feeling. I want them to feel as if we were together when creating the album.

“I want them [my fans] to feel as if we were together when creating the album.”

NATIVE: Who are the producers involved in the creation of the project?

PROMISE: I mainly worked with Killerbeatz and Guiltybeatz. There is also Jae5 who produced “Ginger”, MOG, Rexxie and a couple of more producers from Amsterdam. I was in the UK for a couple of months so I was working with different producers working on different songs. I was trying to be experimental in the album as I wanted fans to hear different sounds and other side of me.

NATIVE: You have a blend of talent from various continents on the project, have these collaborations impacted the sound of the album?

PROMISE: What I really did was evaluate who would sound better on each song. I wanted to make music that came organically. An example is “Choplife” which I did in London with a producer from Amsterdam. When I got to Ghana, I felt Patoranking would deliver a stellar verse on the song. That is mainly how most of the songs and collaborations came to be. As much as the collaborations impacted the sound in the album, it was still within the vision I had for it.

NATIVE: Which songs on the album mean more now that you’re able to share them with the world?

PROMISE: I have a couple. “Overthink” is the first song I really didn’t write by myself. I had a conversation with Jae5 on how life changes over time. He later on sent a verse written by someone who was having the same issues and he had written exactly what I had written on my side. I just added another verse to what was already done and made it my story. I also love “Ginger,” “How Dare You” and “Ten Toes” featuring Omah Lay.

NATIVE: While making music, what do you want your fans to take away from it?

PROMISE: I am super glad I inspire people because that is all I want to do. I want them to know we are all the same despite our status in society, so they should have a good time and be able to dance in the clubs while being at peace.

NATIVE: What are some of the changes you wish to see in the Ghanaian music industry?

PROMISE: The support. There is a saying that ‘you can break a broom stick but you can’t break the broom as a whole.’ The music scene in Ghana is budding and growing across Africa. We find Ghanaians topping charts not only in Ghana but also Africa and worldwide. We had KIDI receive international recognition with “Touch It”. The industry should see all these beautiful things happening and support instead of picking favourites. The gatekeepers sometimes are ignorant as they are rigid despite the change in times. The artists also have to play their part as it takes a lot of blood sweat and tears to make music.

 

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Pre-save ‘5*’ here.

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ICYMI: PROJECT RUNAWAY

What’s Going On: Nigeria’s Phone Tax Bill, War In Tigray & More

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.


OKADA BANNED IN PARTS OF LAGOS

Following widespread reports of jungle justice attacks by motorcyclists, the Lagos state government has responded by banning okada usage in parts of the state. The sad tale of a sound engineer’s demise over a fight became part of a larger discourse about the insecurity fuelled by having so many okada’s in specific areas of Lagos. 

On Wednesday the state’s governor, Babajide Sanwo-Olu then declared a total ban in the local governments of Ikeja, Surulere, Eti-Osa, Lagos Mainland, Lagos Island and Apapa. “This is a phased ban we are embarking on this period,” he said, “and we expect that within the short while when this ban will be enforced, Okada riders in other places where their activities are yet to be banned can find something else to do. We have given the notice now and we expect all commercial motorcycles plying the routes in the listed councils and areas to vacate the highways before enforcement begins. The enforcement will be total.”

The news has been received positively by Lagosians. Unlike previous arguments for the relative comforts provided by okada motorcycles, the nation’s widespread insecurity has possibly informed a less liberal stance. Concerns about execution have however been expressed, and there will surely be a lot of eyes watching how this will unfold in the coming weeks.

AFRICAN UNION CHIEF TO VISIT MOSCOW & KYIV

The war between Ukraine and Russia has been the most debated political topic of the year. Its far-reaching consequences are felt all over the world, where nations must decide their stance on the affair. For the African continent, most countries have been carefully distanced from being explicitly supportive or against any side. Well, that might change soon.

Senegalese President Macky Sall has announced his intentions to visit the capital cities of both nations. Macky, who is also the African Union (AU) chief, revealed that he got approval from the union to undertake the mission which would seek to clarify some economic concerns as well as the continent’s disunity about Russia and Ukraine. Having received an invitation from Russia, Macky was supposed to leave on May 18th but there were scheduling problems. His new departure date wasn’t revealed but he’s sure of making the trip, revealing this during a joint conference with visiting German chancellor Olaf Scholz. 

“As soon as it’s set, I will go of course to Moscow and also to Kyiv,” Sall said. “We have also accepted to get together all the heads of state of the African Union who want to with [Ukrainian] President (Volodymyr) Zelensky, who had expressed the need to communicate with the African heads of state. That too will be done in the coming weeks.”

AID TRUCKS REACH ETHIOPIA’S WAR-TORN TIGRAY

Hundreds of trucks have reportedly entered Tigray over the past couple of weeks. The war-torn region of northern Ethiopia according to the United Nations received over 300 aid trucks from May 10 to May 16, which is the highest number recorded in over a year. 

Since late 2020, the region has experienced escalating degrees of conflict which can be traced to the government’s attempted toppling of the Tigray People’s Liberation Front (TPLF). This was in alleged response to rebel-led attacks on army camps. Still, the conflict hasn’t spared the safety of civilians as hundreds of thousands have been driven to the brink of famine and more than two million people displaced. More than nine million left in need of food aid, says the UN who’ve been providing aid since last year. 

Then, earlier this year in March the government declared an “indefinite humanitarian truce” which allowed several convoys of humanitarian aid to reach the region for the first time since mid-December. Since then, about 571 trucks have arrived in Mekele, the regional capital. The UN’s Office for the Coordination of Humanitarian Affairs (OCHA) have reported that about 15,500 tonnes of food entered Tigray through the neighbouring Afar region. “At least 68,000 metric tonnes are still required to complete the current food distribution cycle,” they say. The mood around Tigray is said to be “generally calm” but still “tense and unpredictable”. However, human rights commissions have complained against the more recent arrests of media personnels and journalists around Tigray’s neighbouring Amhara region. 

THE NIGERIAN GOVERNMENT’S NEW PHONE TAX BILL

The Nigerian government has introduced a new tax on phone calls. According to them, this will be used to fund the healthcare of vulnerable Nigerian citizens who cannot afford healthcare. President Muhammadu Buhari said the National Health Insurance Authority Bill will cover the medical expenses of about 83million Nigerians.

A recent survey by NOI polls established that eight out of ten Nigerians do not have health insurance and have to pay cash for medical attention. The bill will create a group of persons and support them from there. Other funding would be provided through basic health care provision fund, health insurance levy, special intervention fund, as well as any investment proceeds, donations and gifts to the authority.

With an average call rate of 11 Kobo per second, the new law implies at least nine per cent charge on every second of phone calls in the country. Pregnant women, children under five, aged, physically and mentally challenged persons and indigent people encapsulates the vulnerable group. The new act requires every resident in Nigeria to obtain health insurance.

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Nigerian pop is global, but it isn’t exempt from the corrupting effects of home

To live in Nigeria is to consistently deal with underwhelming circumstances. Electricity supply is erratic, the roads aren’t all great, horrible economic policies and inflation continues to plunge more people into poverty and drive the cost of living sky high. Not to mention that insecurity is at an-all time high, police and state-sanctioned brutality continues unchecked and I could go on and on. In face of these systemic issues, it probably would just be an added travesty if the quality of music being made within the country followed this sour trend.

If there’s anything the overwhelming majority of Nigerians can agree on, it’s that our music—especially pop music—is closer to first-rate than the calamitous social situation surrounding it. In the two-plus decades since the unofficial commencement of modern Nigerian pop, our music has evolved, morphed and expanded into a multi-faceted space that still continues to grow and rub shoulders with other cultures. What initially started as a parody of external inspirations has become a boundless terrain with deeper connections to home and a broader palette of influences from within Africa and across the world.

In the 1990’s, following the mass exodus of major labels, and deep in the throes of political turmoil effected by the aftershock of the oil boom, botched elections, and brutal military rule, attention for Nigerian music dwindled on the mainstream level. American Hip-Hop held the ears of the urban youth, and Reggae—along with its offshoot Ragga—was a fixture on radio airwaves. In that period of relative parochial drought, those external influences helped form the foundation of the renaissance that coincided with the beginnings of the Fourth Republic and the return to a democratic system.

Pioneering acts like the Remedies, Trybesmen, Plantashun Boiz, and more, with their Hip-Hop and R&B affinity, jumpstarted the urban side of Nigerian pop. Setting street-pop in motion, Daddy Showkey, Jungulist Boys, Professor Linkin, and many more parlayed Ragga inspirations and proximity to inner suburbs into the varying but somewhat united musical (and dance) styles known as Konto, Galala and Suo. As the 2000s wore on, the alternative side of Nigerian pop was working its way into mainstream conversations, with Asa, Jeremiah Gyang, Silver Saddih, Sound Sultan (to an extent), and several others artists drawing influence from both local and external—sometimes decades old—folk and soul music.

Even in its earliest formative years, modern Nigerian Pop was never homogeneous. That precedent set the tone for the unbridled inventiveness and consistent experimentation that now permeates Nigerian Pop and its frontrunners. Interestingly, on the home front, the contemporary forms of music being made by Nigerians had to earn its stripes. As recent as a decade ago, there were overblown reservations on the quality of Nigerian Pop music, relative to Western standards. These days, the acceptance is unanimous.

What is perhaps even more staggering is the global ascendance of modern Nigerian Pop, from its incubation to its first bouts of complete local domination. 25 years is a pretty short time to go from baby steps to global recognition. Obviously, there’s the usually apt narrative of streaming, social media and increased diasporan pride playing key roles in the acceleration of worldwide acceptance, but it still does not dull the incredulity of the jump from Alaba to Billboard charts and plaques all over the world.

These days, Nigerian artists are creating music for a global audience. The borders drawn on maps no longer matter, songs and albums now travel with no visa. The ceiling is no longer based on local aspirations only, as there is now continental popularity to long after and international ambitions to fan. We live in times where dozens of Nigerian artists can tour the world to sold-out venues, from amphitheatres to prestigious arenas. I remember back in the early to mid-2010’s when blogs treated club tours across Europe and in the U.S. as big deals.

They were big deals—they probably still are because they set a tone, but I don’t think many people foresaw a Nigerian Pop artist selling out the Madison Square Garden, another occupying the O2 arena for three straight days, one commanding tens of thousands of bodies in different counties, and several others generally treating mini to medium-sized venues in other continents like their playground. Even if you want to claim to believe our music would do great on a global scale, many of us could not have predicted it would be this early. As recent as five years ago, people were clowning 9ice and Skales for declaring Grammy ambitions—well, look at us now.

History is happening right now, in front of our very eyes. You can say that at every point in modern Nigerian Pop, but what is happening with global prominence is truly spectacular. I would imagine this is (sort of) what it was like in the abundant 1970’s and ‘80s, with veritable, globally active Nigerian musicians like King Sunny Ade, the Lijadu Sisters, and Fela Anikulapo-Kuti. As a student of Nigerian music history, I do know that the global interest at those times isn’t as rabid as it is now. The technological advancements of a globalised world have definitely helped. There’s nothing new under the sun, the iterations are only slightly modified.

Within this framework of boundless ambitions, there’s a palpable tussle in balancing global appeal with sating home. No matter how much they crossover, Nigerian artists never want to neglect home, not just because it’s bad optics, but for the simple fact that Nigerians are the primary audience for Nigerian pop music. The conflict, though, is in the factors that involve crossing over on the highest level—and remaining there.

In 2017, amidst his blistering Back to Basics run, Davido called his 2016 EP, Son of Mercy.’ Having signed an international recording deal with Sony Music, the Nigerian Pop superstar cobbled together a project that his new label believed would further his reach. It didn’t, and even worse, it dulled the connection OBO had with a Nigerian audience that already revered his hit-making powers. Realigning his Nigerian acceptance proved to be the most pivotal decision in his career, and it even propelled his global superstardom way better than the more contrived music his label guided him in putting together.

In the same 2017, Wizkid put out his third album, ‘Sounds from the Other Side’, the summer after auto-tuned vocal contributions helped push Drake’s “One Dance” into astounding global ubiquity. Taking clear cues from Caribbean Pop and inflections from R&B, the project proved divisive, mainly because the sound of the album didn’t have enough of the streaking anthems from his previous projects, nor did it mirror the mainstream. Subsequent smash hits like “Manya,” “Soco” and “Joro” were moves to reclaim dominance at home.

Big Wiz continued to refine the fusion he presented on SFTOS’, presenting it on his critically acclaimed fourth LP, ‘Made in Lagos’, which skyrocketed his value as a global superstar. Even with its undeniable international success, I’ve heard enough gripes with its title, especially in relation to its somewhat laidback charm. Most Nigerians associate Lagos with chaos and bustle, which MIL’ does not quite convey, so the groans are understandable. It’s not that the music isn’t enjoyable to these people, it’s about expectations.

Even Wizkid seemed to acknowledge the mild controversy, opting to perform some of his earlier, more propulsive jams at a few live show dates during the detty December festivities in Nigeria. This is an artist who, a few weeks prior, had held the attention of about 60,000 people, across three days at the O2 Arena, and touring the world, now slyly acquiescing to the pressures of home.

We live in times when Nigerian Pop stars spend more time outside Nigeria than within it, performing to more white faces and Black people in the diaspora. Last year, amidst one of his infamous digital rants, Burna Boy plainly stated that there was way more money being made off touring foreign continents, adding that it’s all “cruise” in Nigeria as far him and his pockets are concerned. Say what you will, but Burna’s statement is an earnest and honest declaration of the financial motivations to go global and remain global.

These days, most—if not all—successful Nigerian Pop stars will tour a new project across foreign countries within months of release, then wait till December to perform the perfunctory headline show in Lagos and, if they can or want to, one or two more major Nigerian cities. To pull that home-based show off, they have to have one or more hits in circulation, and be insanely ubiquitous or have a dedicated audience. To a very large extent, that frames the seeming disregard fans feel at this local live shows, from incessant lateness to the sometimes lethargic stage pyrotechnics.

Like they say, money makes the world go round, so it makes sense that our Nigerian superstars will be significantly more diligent outside the continent, even though they don’t want to lose that connection with home. This is where the underwhelming circumstances play a huge role. It’s easy—and apt, even—to demand Nigerian Pop stars do a better job in this facet of their obligations to the Nigerian audience. What’s more complicated, though, is the factors holding Nigerian music from truly flourishing on a local scale.

Last December, the standard prices of live shows went up. In many cases, they doubled. General tickets at many shows that went for 5,000 Naira in 2019 sold for 10,000 Naira or more, mirroring the inflation in Nigeria’s economy in those two years. Most of the shows happened in Lagos, the commercial capital of the country, so they were duly packed. At the same time, the concentration of these live events on a particular period and in a single city is telling of the economic circumstances in Nigeria.

December is now firmly regarded as the period of maximum fun, where many people splurge their savings on stuff like live shows, but that is a luxury in a country with multi-dimensional poverty and over 40% of the population live below the poverty line. For context, the poverty line is based on an income line of less than two dollars (about 1,000 Naira) per day. With economic stats like that, it’s no wonder artists are unable to properly tour their own country beyond the occasional show invites and bookings. Add in Nigeria’s current raging insecurity woes, you get the perfect recipe for single shows in Lagos, and the focus on abroad touring. Not only is the income extremely attractive, your safety is also better guaranteed.

Nigeria’s current socioeconomic situation is also not doing our music any favours. It is making the global play seem like the best, and maybe only, option for Nigerian pop artists, which isn’t exactly ideal. There is the obvious reason that not every artist will crossover on the same magnitude of Wizkid, Yemi Alade, Tems, and the like. There is also the less obvious reason that the crossover boom will very likely not last forever. Even if it does last forever, an environment that can’t properly sustain its music is a net negative, for its continued growth and even narrative purposes.

There’s also the matter of the Nigerian music industry is still in development, expanding to include capable professionals and better practices. A lot of the structure that has accompanied modern Nigerian music has been created through bootstrapping and creative problem solving, largely because Nigeria doesn’t make things easy. Earlier this year, the most prominent Nigerian music award show announced its relocation to the U.S., with the founder generally stating that it would be a lot easier to produce over there. This is happening amidst the wave of discussions on the issues with foreign awards validating our music.

As much as Nigerians take pride in our music, it’s obvious that the Nigerian effect is doing as much harm, if not more than, our collective good. The answers to these issues are not straightforward, because the factors behind them are from forces beyond our immediate control. Nigeria corrupts everything and, sadly, our music is not exempt.


ICYMI: AT THIS POINT, AFROPOP SHOULD BE LOOKING BEYOND THE GRAMMYS

Songs Of The Day: New Music From CKay, Shaybo, Olakira & More

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier this week we highlighted songs from Gabzy, Yung L, DJ Tunez and more. This week we have new drops from Lil Kesh, Ronehi, Black Sherif and more.

CKAY  – “MARIA” FT. SILLY WALKS DISCOTHEQUE

Love occupies much of CKay’s discography and it’s a subject he delves again into on his new song. After the successes recorded by “Emiliana”, the Warner frontman releases the electric “Maria”, declaring love in the softest terms for a woman named so. The bright guitars are lovely arms for carrying his vocals, delivered with a slight wink which indicates the affairs of a scene it will typically soundtrack. 

OLAKIRA – “FALL”

Afrobeats sensation Olakira has released groovy and colourful visuals for his latest single, “Fall”. On “Fall,” he sings in adoration of his muse with lyrics such as ”..I don fall for you..” that express his deepest feelings for her. The vibrant video was produced by Olakira and directed by Dammy Twitch, features scenes that are parallel to the song’s lyrics. In the video, occasional shots have Olakira in the background as he admires his muse in all her glory. As the video progresses he approaches her while singing “..pretty lady when you move your body you’re so gorgeous.”

LIL KESH – “VANILLA BOTTEGA” FT. JOEBOY

Lil Kesh surely rides on a cloud of confidence after his smashing collaboration with Zinoleesky (“Don’t Call Me”) went on to become one of 2021’s most resonant hits. It reintroduced his spritzy take on aspirational themes to the mainstream consciousness. He calls again on the new school with this groovy party record, “Vanilla Bottega.” His energetic yodelling about catching his cruise is complemented by Joeboy’s trademark cool, contributing to this record’s bewitching groove. 

L.A.X – “WAIST DROP”

Amapiano has been inspiring great performances from Nigerian musicians of late, and L.A.X is the latest. On his latest single,  “Waist Drop,” L.A.X shows off his luscious singing, laying slightly husky vocals over the thumping production. The result is an unmissable bop which should soundtrack the crazier motions of a night in Lagos.

SHAYBO – “CROCS”

Nigerian-British rapper ShayBo’s latest song is one of the most exciting songs you’ll hear. All her better qualities as an MC are on display, with a slick delivery and a wizened perspective that still sounds sexy. “Crocs” basically upholds her as the standard, taking shots at everyone from haters to broke boys who can’t make her wet. Set to a thumping bassline and synths straight from a Kanye song, the record’s two minute runtime will have you streaming again. 

DUNNIE – “ALREADY WON” FT. CHIKE

In a time of heightened relationship palaver, Dunnie is a preacher of love. Her new record is a warm ballad cushioned on balmy percussions. Creating a duet with Chike on “Already Won”, their glorious vocals build around the production with assured confidence. When the verses pull into the chorus, you’re almost tempted to join in with them to sing “I’m done with the streets, oh babe I already won”

BELLA SHMURDA – “FVCK OFF”

Street poet Bella Shmurda adopts an aloof stance on “Fvck Off”. Having soundtracked the motions of the spirited youth in preceding years, some have called his dedication into question in recent years. Truth is, Bella never lost it and “Fvck You” is a fine sample of the effervescence we all fell in love with. He directly addresses naysayers while upholding the carefree tenets of his lifestyle, singing “if you don’t like me, f*ck off/ if you feeling down, burn up” with brazy confidence. Niphkeys’ is tapped for the production, imprinting his typical brilliance on this jam.

BLACK SHERIF — “KWAKU THE TRAVELLER”

Having dominated music conversations this year, Black Sherif is visualising his legacy. The Ghanaian superstar does that through the release of visuals for “Kwaku The Traveller”, one of the biggest songs of the year. In a short film directed by David Nicol-Sey, the cinematic appeal of the record is translated into gripping scenes. Sherif’s figure as a fashion enthusiast is also captured, fitting finely in outfits which include a coat and pink balaclavas. It’s an admirably positive visual which manages to reflect the grimy severity of hustling to feed oneself.

RONEHI & SGAWD – “TELFAR” 

Scintillating best describes this song by Ronehi and SGaWD. They lace electric verses and soulful singing over double time synths, colouring the record with a brazy, infectious vibe. Paced with the intimate heat of Disco records, “Telfar” successfully combines genres in favour of an utterly accomplished song. You should definitely pay more attention to these women if you weren’t. 

PAYBAC IBORO – “SACRIFICE”

In the run-up to ‘West African Goat’, rapper Paybac iBoro has been employing the sonic eccentricities he’s known for. He’s consistently grown into his singing and his recent releases have flaunted that skill set. “Sacrifice” is no different, helmed by an ethereal beat which moves with the currents of an entire universe. The sound sets Paybac for brilliance, dissecting the affairs of his heart and mind with lucid precision. His verses entertain and enlighten, again confirming PayBac as a rapper with influences far beyond the genre’s scope.

KUAMI EUGENE – “TAKE AWAY”

Kuami’s vocals rank high among African musicians. He can wield its svelte nature into any form, and his latest song just shows that. “Take Away” begins with dreamy guitar strings and Kuami’s singing is tender as well, but his flows are as zesty as he’s ever been. The vision to prove the superiority of having money produces a song that’s as humorous as it is evocative. He’s particularly blunt on the chorus, screaming the lines “if you no get money, anything you say be funny/ they are taking your babes away” with the conviction of an experienced person.

SIMI – “NAKED WIRE”

Simi SZN is upon us. With her fourth album ‘To Be Honest’ expected on June 2nd, the singer has shared a single to ease listeners into that world. “Naked Wire” is the most vulnerable we’ve heard Simi in a minute, melting at the feet of love with trademark wittiness and poetry. Brooding keys linger in the background, as lush percussion sets the sonic centre. Simi’s tinny vocals are sure in the embrace of love as she sings lyrics like “moving in harmony, baby oh, no release me/ the language of my body, you speak it so fluently”

Featured image credits/NATIVE

A 1-Listen review of Buruklyn Boyz’ ‘East Mpaka London’

It is undisputed that Kenya’s Drill scene is buzzing with new artists that are taking over with dark, ominous 808’s and inviting flows. Pioneering acts Buruklyn Boyz have been on the frontline of that shift with a mix of urban appeal, slang-infused lyricism and varying song structure.

The dynamic duo, comprising childhood friends and long-time collaborators Ajay and Mr. Right, have delivered some of the most essential drill songs in Africa, starting with their breakout song “Nairobi,” which introduced their notorious tag, “Kwani Ni Kesho,” and set them up for a blistering 2021 run—the group was named one of NATIVE’s Best New Artists and Best rappers in 2021.

Keeping the momentum going, Buruklyn Boyz have entered this year with a handful of releases, setting an expectant tone for their anticipated, newly released debut album, East Mpaka London’Watching A-Jay’s Instagram Live on the eve of the album drop, you could tell the blood, sweat and tears that had gone into the album, as he constantly thanked the fans for their love.

In keeping their buzz going with “Location 58,” “Dream Ya Kutoka Kwa Block” and several more singles, Buruklyn Boyz have built on their rep as East Africa’s premiere Drill act, with a rabid audience to sate. In less than an hour of the release of the album, their Spotify streams amounted to over four hundred and fifty thousand.

Their tough but laid-back sound and business-minded image is a template for the dominant attitude in their 16 track debut album. Infused with 90s Hip Hop beats, Drill beats and R’n’Drill , which is a fusion of R&B” they epitomise the world as they see it. From being barred from performing in shows to being one of the biggest artists in East Africa, their rise to stardom has been intentional and calculative. Despite being their debut tape, my expectations are extremely high, “Pree” and “Dream Ya Kutoka Kwa Block” are already released singles so I can’t wait to dig in, Kwani Ni Kesho?

“INTRO”

This is quite an emotional opening. I know they are also a Hip-Hop group but I was expecting a drill number Not that I am not loving it, I am impressed and blown away. Ajay opens a vulnerable vault saying despite their come up they can still see the hate in people’s eyes. Ajay’s part is quite self reflective over a 90s Hip-Hop beat with recognition that music has always been his destiny. A soulful intro into ‘East Mpaka London,’ I guess it’s a rollercoaster of emotions?

“USIKAM HII SECTION”

Okay, this is R&Drill guys. When Mr. Right drops a line you definitely wanna do what he says. The growth of his command of language and delivery has been outstanding. Taking charge of the first verse and you know the boy is always busy chasing the bag, he gives a smooth delivery, never forgetting his catchphrase and transitioning smoothly into the sticky hook. I can’t deny the hook is catchy especially when Mr. Right says they have been looking for Juliet the whole day because they have Romeo. When Ajay gets to the second verse I have to restart his verse. He gets playful with his sentence structure with lines such as , “…baby girl imma getchyu the prada because I am proud of you…” I have so much tension because at the moment I am not sure what the tape contains. Are all the songs R&Drill?

“CONFESSION”

Guys! Who curated this tape? Less than 15 seconds into this song and we have to restart the song. This is a dancehall beat infused with drill, who does that?  The back to forth verse exchange between Mr. Right and Ajay with a percussive backdrop has you throwing gang signs. They throw boisterous lines “..we so sick rappers are in quarantine..”. Produced by Clue Ameshaivisha Track and Metro Suka Doba, this song is seriously infectious as they drew inspiration from Stefflon Don and Ms Banks’ “Dip”.  You can tell the form of the album is already taking place as you progress.

“NISKIZE” (Feat. Maya Amolo)

This has been one of the awaited tracks from the tape. Just like everyone I wondered how Maya would sound on an ominous 808s as opposed to her sultry soulful numbers. The build up to the song is gentle as it tells the story of hood love, the drum patterns complement the piano keys during this monumental moment the exemplary artists map out the Drill scene with unorthodox numbers. Maya’s background vocals take you back to Ja Rule’s “Always On Time” with Ashanti. 

“CATALYST”

This is my favourite song from the album. Slinging out his rhymes in a cocksure cadence, they offer an unapologetic delivering iconic verses. I can already visualise the live performance of this song. With creative alliteration “..zinapanda shuka panda,” the vibrant number is a testament to their come up and dominating the scene. I am predicting that this might be the song of the year. It’s brief, boisterous, and still relatable.

“PREE”

Released in April, the beat to this song is undeniably hard. It’s only A-Jay who would casually play around with sexuality and Justin Bieber. This was a perfect choice for a lead single, its lyrical simplicity and unique delivery makes it a fan favourite. Talking about a babe who wants to always hang out with them for their clout acknowledging their success.

“BLICKY”

Paying homage to Ziggy, creator of Mbichwa rolling papers, they give a raw delivery over a bouncy production. The song is mid and passes by quite quickly for me. I wish the bars went deeper. I will have to spin this one again.

“LAST AIRBENDERS” (Feat. Silverstone Barz, Big Yasa)

This is currently the strongest music bond. Each playing a role in the rise of  Drill,  Buruklyn Boyz have the ferocious Silverstone Barz and Big Yasa. Breaking the monotony in sonic production, they jump on a Hip-Hop beat as Silverstone turns the table with her hard knock lines with a venerable supporting cast. Big Yasa’s guttural voice immediately grabs your attention, I wish he gave more delivery to allow his verse to take form.

“COINS”

The more you listen to the album, you get to understand their story and vision for East Mpaka London’. Once you hear the Clue Ameivisha Track Tag you are assured of an earworm production. The delivery is hard and tenacious with the rewind worthy hook, while Ajay gives a gritty delivery.

“EX”

At this point I am beyond dumbfounded in the production and creative details of this project. Sampling 2021 AFRIMA Best Female in East Africa, Nikita Kering‘s Ex the vocals perfectly tie together creating a harmonious background. My favourite part of this album is its rawness. Mr. Right offers an honest delivery quantifying expensive beauty products with local beauty products.

“NOTHING BUT LOVE” (Feat. Younglouie 58)

This beat is so bouncy and so far this is the best hook. The back and forth lines between Mr. Right and Younglouie 58 is smooth. I can’t wait to hear the latters verse. I find it important to incorporate Kenyan slang despite being an assimilated sound. The switch between Swahili and English brings a swaggering spin on it. The different artists bring a new flow as the bass drums knock over an insistent beat.  

“TALIBAN”

A new beat is introduced and it can’t be what I think it is. Once again the producers have mixed two sounds: Persian melodies and drill composition principles. The head busting track has a bouncy beat comparing their brotherhood to Phineas and Ferb, Ajay gives a star studded delivery. The thunderous drums and dramatic strings are heavy and epic. 

“CELLIE” (Feat. Younglouie 58)

When you listen to this song, it’s amazing how the industry’s transformation is happening. The new school artists are employing new ways to export their music. While at it learning to build their brand, this song sounded very foreign to me. It was somewhat hard believing it is a Kenyan production.

“DELETE”

Starting off with their tag line “Kwani Ni Kesho”, Mr. Right uses the soulful backdrop as an opportunity to release his woes on his muse who hardly spends time with him. The tinny piano lines, preset drum sounds and roaring synths have resulted in a playback-worthy track.

“23”

Ajay’s menacing voice gives a gritty delivery with cocky delivery. Stating his influence even terming themselves as the coolest kids, this is a boisterous track of who they are. They associate their success with the hometown five eight (Buruburu). Mr. Right takes to boast about earning money from music. I do understand where they are coming from as most Kenyan artists only receive payments from live performances.

“DREAM YA KUTOKA KWA BLOCK”

Talking about liberation from the hood, this profound number is accompanied by a crisp video from Omoke. Serving as the perfect song to close off the album serving as a sequel to the intro which was about their come up. The production in the song is unique with a rattle-like sound standing out and drawing you into the song. From the piano keys a hopeful mood is set assuring their come up is not stopping their success

Final Thoughts

As I earlier said, this album is an emotional rollercoaster. especially if you have seen the come up of the group since “Durag na Slice.” The variety of artists’ collaboration has given the album an identity bringing Buruklyn Boyz closer to regional breakthrough. If there is anything ‘East Mpaka London’ does for the group, it’s setting up Kenya’s drill versatile possibilities. The curation of this album is meticulous, creating a build up in thoughts and emotions as you listen through the songs.

The album has defined the groups and position in the build up of the genre. Their pen game, delivery and flow will continue to mature overtime, but in the moment, East Mpaka London’ is a standout exhibition of their rap prowess. My expectations have been surpassed. The album is a combination of live-worthy performances and ear worm production

Buruklyn Boyz are known to never rest so we should expect several videos soon. The album’s sonic perfection as the production gleams with catchy hard-knock bars explains the long wait fans had to go through. Showcasing their lyrical prowess over various Hip-Hop beats, Mr. Right and Ajay keep solidifying themselves as a duo and as solo artists. Also, one thing is clear with this, Buruklyn Boyz still have more to dish out.

Listen to East Mpaka London here.


“SHRAP OVER THE REST”: THE RISE OF A KENYAN GENRE FOR THE YOUTH, BY THE YOUTH

Lojay & Sarz Team Up With Chris Brown For “Monalisa” Remix

Since the release of his debut collaborative EP ‘LV N ATTN’ with hit-making producer Sarz, Lojay’s growth has been nothing short of an undeniable success. The 5-track EP featured sultry and distinct afrofusion numbers such as the lead single off the project,”Tonongo”, Wizkid-assisted “LV N ATTN” and standout “Monalisa” which also featured on our mid-year best projects list in 2021.

 

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Just a few days after the release of his project last year, Lojay shared in a NATIVE Exclusive interview the shock he felt seeing people scream “Monalisa” at the club just a few hours after the release of the record. There’s no doubt that “Monalisa” has emerged as one of the biggest songs out of country in the last year. The song has gone on to top the charts both in Nigeria and across the continent for a long period of time.

With just a few months into the year, Lojay is already teasing the release of new singles via instagram live and video snippets. Already this year, he’s featured on NATIVE Sound System’s debut single “Runaway”, and has now tapped American singer, songwriter and performer Chris Brown for the remix of the Sarz-produced record almost a year later. 

Chris Brown is not new to the Afropop scene and he has delivered stellar guest verses on records such as “Blow My Mind” with Davido and “Time N Affection” with Rema. On “Monalisa Remix,” he adds a fine addition to the Amapiano-infused record by laying down yet another standout verse. Singing lyrics such as “For this life me and you chop life, hushpuppi/hope you know you light up my day, girl you know you’re all that i need”, he reminds his love interest about her place in his life and finely matches Lojay’s mid-tempo pace.

Although the remix arrives almost a year after the song’s official release, the new and refreshing energy brought by Chris Brown breathes new life into the track, adding an extra layer of intrigue to an already hit song. It’s clear that Lojay has secured another club-hopping set to soundtrack the summer. Just as we predicted in 2021, Lojay’s commitment to his artistic growth will continue to pay off in the long run.

Listen to “Monalisa” remix here.

Featured image credits/NATIVE


ICYMI: PROJECT RUNAWAY

Omah Lay shares new single “Woman” ahead of his debut album release

In 2020, while the entire world was confined indoors due to COVID-19 lockdown restrictions, Omah Lay spawned what is considered to be one of the finest EP’s in Afropop history. ‘Get Layd,’ was the titillating 5-track project that catapulted the singer into the upper echelons of stardom. In that same year, he spun another stellar 5-track EP, ‘What have We Done,’ which cemented him as one of the most prolific acts of his generation.

He has since doubled down on his dizzying 2020 run by lining the pop scene with continent-spanning hits like “Understand” and his feature with Ajebo Hustlers “Pronto”. Now he’s at the cusp of sharing his debut studio album, a purple-themed motif titled ‘Boy Alone’, which is poised to drop next month. Ahead of its release, he paired up with Justin Bieber for a snazzy mid-tempo offering, “Attention” which dropped earlier this year, and now he’s returned with an utterly irresistible earworm dubbed “Woman”.

 

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“Woman” sees him roll back time to deliver a classic Omah-Lay record. His syrupy voice drips over the P.Priime-helmed production, glazing it with his archetypal bouncy flows and awe-inspiring melodies. Omah Lay’s songs have largely been defined by longing — for sex, for love, or for attention.

He’s responded to these voids with wistful musings over amber-hued beats, until now, when he appears to look through a sunny lens and a twinge of nostalgia to deliver one of his finest works in recent times. The sanguine P.Priime production provides the perfect backdrop for him to layer lyrics that sees him shower his muse with adulation.

Alongside the record, he has also released an accompanying DK-directed video. The ambience of the video matches the upbeat track flawlessly. It sees Omah Lay and a slew of female friends cruise around the streets of Lagos in a vintage Mercedes-Benz, before arriving at a gilded palatial room, furnished with opulent furniture and exotic food, where they dine and goof about.

Watch the video for woman “Woman” and pre-save ‘Boy Alone’ below.

Featured image credits/Youtube


ICYMI: PROJECT RUNAWAY

NATIVE Exclusive: Ini Dima-Okojie Was Made For This Moment

What does it feel like to be backed against the wall, and to go against what feels like the whole world in an elusive pursuit for freedom? This question was the rich backdrop against which Ini Dima-Okojie played the role of Sara Duru in ‘Blood Sisters,’ the first Netflix Naija original series which was released earlier this month. The intensely churning series sees Sara Duru’s character stand up to her powerful abusive fiancé, leading to her best mate Kemi ending his life hours to their wedding. The pair spend the rest of the limited series on the run from his powerful family, the police and the world at large.

 

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While Ini Dima is a standout in her role for ‘Blood Sisters,’ as she has continously done in her recent string of releases including ‘Day of Destiny,’ and ‘Namaste Wahala,’ she’s a far cry from the timid young girl she once was. Speaking to the NATIVE a few weeks from ‘Blood Sisters’ release, Ini Dima-Okojie shares that she was an introverted child who lived under the shadow of her star sister. While her sister may have been the outgoing one, Ini Dima-Okojie spent years nurturing her creative and illustrious imagination.

Back then, she would conjure majestic stories, daydream about mounting dazzling stages to receive coveted awards and dream of touring the grandest cities of the world with her electrifying band. Being a shy child, she would often recruit the chickens in her yard to play pretend with her. On some days, they were part of her band, on other days, they were fellow co-stars in a blockbuster she was putting together, while sometimes they played the role of earnest listeners to her grand tales. She shares that she dabbled with film from as early on as highschool. Here, she played powerful roles that would evoke tear-jerking reactions from the crowd.

However, Ini Dima would put her creative side on the back burner once more, and pursue a professional career as an investment banker. In 2014, she got her wake-up call. After a close friend shared a film titled ‘The Island’ by Urban Vision, Ini Dima-Okojie found herself transfixed by its storyline and the depth of the characters. It was there that she began nursing her own ideas of acting. Eventually, she plucked up the courage to quit her job and enrol in acting school, a move that drew no raised brows from her close friends and family. “That was when I really knew that this was something I love and the feedback from my tutors was amazing and they really thought that I had something,” she shares.

Fast forward to 2022, and now, she’s the protagonist of the most significant and evocative Nigerian series in the past few years. Far from her gloomy aura in ‘Blood Sisters,’ in real life, her ambience is overwhelmingly sunny and infectious. Her sentences are punctuated by visceral spirited laughs that function to drizzle her positive energy around.

It’s this infectious energy that she brings to her role as Sara Duru in ‘Blood Sisters,’ which finds her expertly conveying emotions of fear, hope and misery. When she cries, you can’t help but feel pangs of pain in your chest, and when she’s unaware of the next step, you are also glued to your chair, eagerly watching her mould and meld her voice, facial expressions and mannerisms to convey the weight of her character’s plight.

Now, following her mercurial performance on the sizzling ‘Blood Sisters,’ Ini-Dima Okojie spoke to The NATIVE on her childhood, her switch from investment banking to acting and the story behind Blood Sisters.

 

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Our conversation which follows below has been lightly edited for clarity.

NATIVE: What was growing up for you like?

INI DIMA: I had an amazing childhood. I’m the last child of four children. I always wanted to be exactly like my mum. She’s a retired banker and a lawyer, and I thought that she was the coolest person ever. She was so fashionable, and I think that’s where I get that from. Then my dad is a retired Air Force soldier but he’s also a doctor who is still practising in the UK. Growing up, I was very shy. I would live in my head most of the time but one thing I loved was award shows. I’d watch award shows even as a kid and almost daydream about receiving awards, or being in a band. I always leaned towards the creative side, but I couldn’t really express that, and it was actually my sister who was a child-star. She was in this show called ‘Children Of The World,’ and she was the outgoing one.

NATIVE: You mentioned that you were pretty reserved as a child, how did you get to acting?

INI: I remember a friend of mine, Mimi sent me a trailer for some show called The Island by Urban Vision. This was 2014 and I thought it was such an exciting trailer. I was so intrigued and I started to read up on the profiles of some of the actors. I noticed that a couple of them had gone to film school. Ever since that day, I just realised that I couldn’t sleep well at night, like every time I closed my eyes, I imagined being in that show or just acting. Eventually I went to film school, and fell in love with acting. That was when I really knew that this was something I love and the feedback from my tutors was amazing and they really thought that I had something. That’s how this journey started here.

NATIVE: How difficult was it convincing your parents to let you make the switch from investment banking to acting?

INI: It was easy, it was literally that one conversation. What was difficult was getting myself to be able to tell them because I thought they’d flip out.

NATIVE: How did you convince yourself to make the crucial career switch you made?

INI: I don’t know about it being difficult convincing myself, it was more the journey. So obviously, there’s that fear of what am I doing? Because at some point it felt like, if you leave your job, then there’s no going back. It almost like I was leaving my comfort zone and leaving something that felt certain for something that’s so wild and uncertain, but that’s the beauty of it.

 

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NATIVE: How instrumental was film school in mounding you into the actor that you are today?

INI: I think film school was everything, I know not everyone goes to film school, and not everyone who has attended is an amazing actor, but for me, it really made a difference in my life. It’s what makes my process the way it is today. There’s just a fundamental approach to acting that I learnt from film school that is so valuable. I would do it over and over again if I had the opportunity. I’d go to film school again. I don’t think you can ever stop learning.

NATIVE: You’ve got a vaunted reputation in the industry and you’ve worked on a number of projects. Which one would you say is your favourite so far?

INI: That’s an impossible question. It’s like choosing your favourite child. I can’t pick one at all. There are some that are special to me. ‘North East’ is the first feature film I ever did, and it’s engraved in my memory forever. ‘Battleground’ is very special to me because it was a very different experience. ‘Daily Show’ is very different and it was such a wild ride. ‘Oga Pastor’ didn’t get released but as an actor, I walked a door with it and still hurt that it was cancelled. ‘Namaste Wahala,’ there were people that loved it, there were people that didn’t love it but, it represented so many firsts for me. And of course there’s ‘Blood Sisters,’ I’ve not come back on earth since the day ‘Blood Sisters’ was launched. This one, the stars were so aligned, from the production to the cast to every crew member to the director, like everything came alive.

NATIVE: How did you secure your first acting gig?

INI: So I got back from film school and didn’t know anybody. In 2014, I remembered that I had a family friend that was a first time producer in a new show called ‘Before 30.’ So I call her and I’m like I’m just from fresh from film school and willing to work and she told me that they had already cast the show but there’s a role for production assistant, if I didn’t mind that. I knew it would be a good opportunity to learn. While this was happening, my mum had introduced me to Kiki Omili, and I was going for auditions. Then I got this audition for a show called ‘Taste of Love’ and that was my first non-open audition. They called me to the office to audition, and I got the role.

NATIVE: How did you get recruited for the Blood Sisters project?

INI: So, I got an email with the sides from Ebony Life, and it was the role for Sara. I remember reading the script and feeling like the role was made for me. I auditioned for the role but then a few days later, I got another call for the character of Timeyin, who I equally loved. I just knew that, whatever this show was, I wanted to be a part of it. I auditioned for other roles including Kemi which Nancy Isime played. Eventually, after the auditions, the casting director said they want me for the role of Sara and Nancy as Kemi. So they swapped our roles because Nancy auditioned and actually read for Sara.

 

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NATIVE: Would you say you personally resonate with the character Sara?

INI: You have to get yourself to. For me, when playing any character, the first rule is not to judge. Even if the things that the character does are not what I’d do, I find something that connects us.

NATIVE: Your character Sara was essentially on the run for the entirety of the series, she also acted in a lot of emotionally charged scenes. How difficult was it playing the role of Sara?

INI: Sara is very challenging, and I think for me, it was three things: the mental, emotional and physical aspect. The last time I played such an emotionally charged role was ‘Oga Pastor.’ ‘Oga Pastor’ was crazy, I unlocked a door that I didn’t even know I had. There this balance [in acting] between being present and getting to a point where it feels dangerously real. But you’re still seeing lines, so your brain is still functioning but you’re so emotionally there that it’s almost (real). After ‘Oga Pastor,’ I promised myself I would never dig that deep into a character again but when I read Sara, I knew I had to go there. I could not two-face this at all.

NATIVE: How was the experience working with Nancy Isime on set? Are you friends outside of the camera’s?

INI: It was amazing. Nancy and I, we worked together about 8 years ago on ‘On The Rail’. The characters weren’t as closely tied as this one though. From the moment they paired us, it was so special. From day one, we bounced off each other very well. I get very intense when I’m working. She was literally my Kemi on set. We show each other love on social and off social. If I’m doing something, she’ll come, if she’s doing I’ll go. We’ve always had great energy but this has even made us closer.

NATIVE: What would you say was the most difficult aspect of working on Blood Sisters?

INI: I don’t know if I can pick that one scene but certain moments were very heavy. I like to divide Blood Sisters into two in my own head. There was episodes one and two, which was like the emotional journey for Sara and there was three and four which were the physical parts of her journey. Some particularly tricky scenes were when Sara had to have that conversation with her mum about her husband’s abuse. Then there’s the scene where she finally tells her abuser no and refuses to marry Kola, that’s another heavy scene for me.

“After ‘Oga Pastor,’ I promised myself I would never dig that deep into a character again but when I read Sara, I knew I had to go there. I could not two-face this at all.”

NATIVE: On the flip side, what was the most enjoyable aspect of working on ‘Blood Sisters’?

INI: It was so beautiful to be on a set where everything you read on a script came to life while you were acting. Whether it was a plane, a helicopter or a building burning in Makoko, everything you saw, it was not CGI. They built a building in Makoko and burnt it to the ground.

NATIVE: Who is your favourite character of the series?

INI: That’s a hard one. I loved everyone so much. It’s so crazy, even down to the extras, everyone pulled their weight on set. For that, it’s hard for me to pick, but gun to my head, I’d pick Timeyin.

NATIVE: Why is that?

INI: Because asides from Sara, I remember reading those sides and thinking that whoever gets to play this character is amazing because it was such a well-written character. They were all well written but there was just something about Timeyin’s that stood out to me.

NATIVE: What’s next for you?

INI: There are so many exciting things down the pipeline, the next thing I’m doing is season two for ‘Smart Money,’ which starts filming in June, by the grace of God. Get ready for that.

Watch ‘Blood Sisters’ and revisit our review here.

Featured image credits/NATIVE


ICYMI: PROJECT RUNAWAY

Free The Youth Opens Flagship Store in Accra, Ghana

Over the past few years, a quiet streetwear revolution has been brewing in Accra, Ghana. Home to notable names such as Free The Youth Ghana and more, the fashion and lifestyle brand is part of a growing number of West African labels shaping the face of youth culture on the continent.

After years of furthering their mission of making streetwear available on the continent and their notable collaborations with names in the fashion world such as Off-White, Daily Paper and more, Free The Youth is now embarking on its biggest mission yet: the opening of their flagship store in Accra.

Founded in 2013 by Jonathan Coffie, Kelly Foli, Shace Winfred Mensah, and Ormano, Free the Youth has grown to include a number of key players from around the Ghanaian alternative scene, among them event producer Prince Brefo, production lead Gilbert Quansah, photographer Philip N. Boakye, Design Advisor Mecha Clarke, and NGO managers Asia Clarke and Sunshine Duncan.

Out of a shared passion for fashion, the FTY community crafts a African fashion manuscript that encourages liberalism while drawing inspiration from real-time issues such as the” 1000 injured” tee paying homage to victims of the Accra Sport Stadium disaster of 2001.

On the 21st, Free The Youth will officially open the doors to their flagship store in Ghana. According to the FTY Instagram page, the store is located on Liberation Road in Accra and will open its doors to welcome guests and shoppers on the 21st of May from 1pm till late.

To RSVP for the opening event, please contact info@freetheyouth.net and shop their latest collection here.

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ICYMI: ‘Blood Sisters’ and the value of criticism in Nollywood

AV Club: ‘Blood Sisters’ & the value of criticism in Nollywood

There is nothing as odd as showing up at a traditional Nigerian party in anything but traditional wear. Not only will you stick out like a sore thumb, you also attract the attention and questions as to the validity of your presence. Who invited you? Don’t you know how to dress to an owambe? Maybe you’re part of the help? No one might ask these questions verbally, but roaming eyes definitely will.

Maybe that’s why it’s a little absurd that the assassin hired to kill the groom at an engagement party in the first episode of ‘Blood Sisters,’ the first original Nigerian TV series for Netflix, came decked out in a leather jacket and a pair of jeans. Amid bright orange traditional outfits and shiny local caps, a guest that is inappropriately dressed for the occasion will attract eyes, which counters the point of discretely killing the main character at his nuptials. Of course, his target made him out, yanking away the element of surprise an assassin would supposedly have, leading to a hand-to-hand fight scene, despite owning a gun.

This sartorial mishap is an incredibly easy early flaw to spot in ‘Blood Sisters,’ a show that does have its merits, and stands out positively among the mixed bag of Nigerian films and shows that have landed on Netflix since the streaming giant took an active shine to cinema from Africa. This new, limited four part series digs into the aftermath of a murder, tracing its effects with a characteristic verve and some remarkable depth.

Kola Ademola (‘Deyemi Okanlanwon), the aforementioned groom, is killed by his fiancee’s best friend and maid of honour in a hotel room, while friends and family are gathered a few floors below for their engagement ceremony. It sort of happens in self-defence: Kola physically attacks Sarah (his wife-to-be) when she decides to call off the wedding due to his propensity for physical abuse. While joining her friend in defence, Kemi shoots Kola with the gun he confiscated from his grossly incompetent assassinator. What follows is a botched attempt at covering the murder, which digs Sarah and Kemi into the helter-skelter part of the plot, while the Ademola’s focus on their emotional turmoil.

It’s an engaging promise that does not fully justify it’s nearly 3.5-hour run time, but there’s enough movement in the storyline to keep things interesting. The acting on ‘Blood Sisters’ is consistently good – some you might even consider great, like Uche Jombo’s spot-on portrayal of Sarah’s mother. The two leads, Ini Dima-Okojie and Nancy Isime, who play Sarah and Kemi respectively, are wonderful individually and, as a pair, both show a strong chemistry that makes their on-screen ride-or-die friendship believable. They go through their ordeals with bravery and desperation, care and compassion, and the show is at its most encapsulating when it centres their bond over their high speed chase.

 

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The set up for the toxic Ademola family is also appealing. Kola Ademola, is given a thorough performance by ‘Deyemi Okanlawon. By watching his well mannered charm and easy smile, it makes sense that he is seen as the perfect golden boy by outsiders. Okanlawon switches to a visibly menacing candour in moments of anger without coming across as over the top. Even though he exits really early on, he is the ghost that looms large over the plot.

Then there is Femi Ademola (Gabriel Afolayan), the elder brother aggrieved that he’s not at the helm of the family’s pharmaceutical business, and his complementary, scheming wife Olayinka (Kehinde Bankole). Nascent actor Genevova Umeh plays the role of Timeyin Ademola, imbuing the character’s matrix of brilliance, insouciance and addiction problems with an admirable twitchiness. Acclaimed veteran Kate Henshaw portrays Uduak Ademola, the stern and consistently brawn-faced matriarch whose emotional abuse of her children, which could’ve been written off his tough love, is dutifully acknowledged on the show.

Unfortunately, aspects of the Ademola family were also some of the weakest points in the show.  The same subtlety that was used to portray Kola Ademola is absent with the two primary female antagonists, Uduak and Olayinka. The show felt the need to remind us what a monster Uduak was with every word she spoke. Yet, one would think someone as image conscious as her would be more willing to fake politeness. She was far more interesting when grieving her son or when she appeared briefly bothered by the effect that her past behaviour had on her children. Uduak’s character would have been more engaging if she were more manipulative and unpredictable, which would have made some dark revelations about her character towards the end more shocking and not obvious. As for Olayinka, the wife of the oldest Ademola son, her Lady Macbeth-style villainess is all too common in Nollywood. While her character was enjoyable to watch, her one-note cruelty became repetitive after a few appearances.

Both the highs and lows of the Ademola family arch is a snapshot of the mixed bag ‘Blood Sisters’ is. For the apt representation of police work in Nigeria, where nothing gets done unless money and proximity to power plays a role, there’s a tenacious detective with a bad ‘Chicago’ accent who is more perfunctory in the grand scheme of things than his appearances suggest. For the crooked driver that transports people across borders, there’s the incompetent criminal known to the police.

Depending on who you ask, ‘Blood Sisters’ is either great television, riddled with far too many flaws, or just adequate. For EbonyLife studios, the production company behind the show, that might be a net positive, considering that their recent efforts have not been met by a lot of positive reviews. Earlier this year, the company released ‘Chief Daddy 2: Going for Broke,’ an atrocious sequel to the blockbuster 2018 film that was also not very good. In the wake of the polarising discussions that followed the film on social media, EbonyLife shared a video of its founder Mo Abudu threatening some sort of bifurcated access to those with negative takes. Obviously, that didn’t land well with Nigerian Twitter, and it would’ve played a role in the online reactions if ‘Blood Sisters’ didn’t have any merits.

In the days after the new show made its way to Netflix, social media was littered with opinions, both positive and critical of the limited series. The negative opinions have been fairly passionate, with people pointing out the weak story and unrealistic elements of the plot. Others have just as intensely defended the production, stating the unfairness in comparing it to a Hollywood production, with many calling for people to simply enjoy it for what it is.

Criticising Nollywood productions in general can be a strange undertaking. Nollywood is one of the most prolific film industries in the world, with thousands of films made each year. Classic Nollywood films are famously low budget and appreciated for the ridiculous campiness as much as anything else. It’s only in recent years that Nollywood films have gotten serious enough funding to make large scale productions. It’s easy to say people should not be so harsh on an industry that is in its infancy in some ways.

As nice as it is to simply focus on the merits of any achievements made in this country, things rarely change unless there’s some negativity. At this point, creators should know that their audience cares about quality. Of course, in an ideal world, all negativity would be constructive criticism. But the nature of the internet means there will be unnecessary vitriol mixed which could sour people towards valid critiques. In order for healthy debates to be held however, it may be necessary to take the good with the bad.

But we also cannot blame viewers for simply being proud of progress and who aren’t yearning for their media to be up to a certain standard. There’s room for cheesy, predictable work. For some viewers, there’s even room for out right questionable acting and story decisions. After all, don’t many of us watch questionable work from Hollywood? For those who want more varied stories, the success of shows like ‘Blood Sisters’ may mean more investment into the Nigerian film industry and more opportunities for stories of different shades to be told.


Words by Moore Wright and Dennis Ade-Peter.


ICYMI: HOW RUBY OKORO CREATED THE COVER FOR BOJ’S ‘GBAGADA EXPRESS’

The significance of Kendrick Lamar releasing his album from Ghana

The best rapper alive just spent a week in Accra, Ghana.

That may not sound like a big deal to the cynics amongst you, given the West African country has recently become the destination spot for global superstars, Africans across the continent, and Black people in the diaspora. What makes it notable though, is the timing. On the eve of the release of his fifth studio album, ‘Mr. Morale & The Big Steppers’, the Compton-born rapper was shuttling around Accra, from Jamestown to Osu, prepping its release.

 

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Since vaulting into the upper echelon of superstardom with his instant classic major label debut album, ‘good kid, M.A.A.D City’, every Kendrick Lamar full-length release has been an event. Regardless, this new project is arguably the most anticipated of his incredible career. His last set, ‘DAMN.’, came out in 2017, and the soundtrack he curated for ‘Black Panther’ was released in 2018. Five years between solo albums is an eternity in streaming years, especially for an artist that’s notoriously invisible on social media.

Usually, one would expect an artist releasing a new album after a self-imposed hiatus to want to cater to their immediate audience, through radio runs, interviews with local press, “surprise” appearances at staple events, and other parochial attempts to dominate the IG feed for that day. Obviously, Kendrick’s level of ubiquity and the global reverence he commands affords him the luxury of not going the traditional route with his return LP, but flying to another continent entirely is an unexpected turn in the rollout script.

As expected, what he was doing in Accra has been a topic of conversation in music circles on the continent. Rumours of a top-secret video shoot for a song off ‘Mr. Morale…’ seem plausible. Perhaps he just wanted to see what all the hype was about? Pictures from the private listening event on the night, hosted by Spotify, show Kendrick with Ghanaian artists Black Sherif, Amaarae and Stonebwoy.

Whether the motivation for his travel is either of those speculations, something else entirely, or a combination of several factors, the presence of Kendrick Lamar in Ghana at a significant time in his career is eyebrow raising. While this is his first time in Ghana, this isn’t Kendrick’s first time in Africa. In 2014, he visited South Africa, a trip that he said heavily influenced his classic, jazz-indented third album, ‘To Pimp A Butterfly’. Travelling around Johannesburg, Durban, Cape Town, and visiting Nelson Mandela’s cell on Robben Island, the rapper has repeatedly credited visiting the rainbow nation with broadening his approach to making music.

On ‘TPAB’, he references Nelson Mandela on the epic 12-minute closer “Mortal Man,” and storytelling highlight “How Much A Dollar Cost” is based on a real life moment during the South Africa trip. On the ‘Black Panther’ soundtrack, he recruited South African artists Yugen Blakrok, Sjava, Saudi and Babes Wodumo for standout moments. As well-executed and well-curated as it was, the soundtrack was barely the pan-African effort many would’ve liked, but the inclusion of those artists is another mark of the profound effect visiting an African country had on him. It’s only right he came back for seconds.

Apart from the industry events he’s been at in Ghana, pictures and videos of Kendrick Lamar doing more mundane stuff has made its way to Twitter timelines. Over the weekend, he was at Freedom Skate Park, hanging out with people in the community, taking pictures and signing autographs. He was also spotted playing football at a makeshift pitch in Jamestown, and he spent some time at the bar beach in Laboma.

As heart-warming and intriguing as it is to see Kendrick Lamar having an eventful time and clearly enjoying himself in Ghana—coupled with his time in South Africa—it’s not novel for American music stars, specifically Black artists, to mingle with local residents upon touching base in the motherland, some staying longer than the others. Stevie Wonder famously received the four Grammys for his sprawling magnum opus, ‘Songs in the Key of Life’, in 1977, during a prolonged stay in Lagos after Festac ’77. A few years prior, in 1974, Nina Simone moved to Liberia and stayed in Monrovia for three years. In 1997, Ghostface Killah travelled to Benin Republic for alternative medical care and ended up staying longer than planned in a Village hours outside the capital city of Cotonou, a stay that inspired his seminal and lyrically esoteric masterpiece, ‘Supreme Clientele.’

Each of those artists had reasons for visiting (and remaining) on the continent at those points in their lives, from disillusionment with racism to redefining their perspective—via searching out relief for physical and mental health issues. “We never dream of Africa. Like, ‘Damn, this is the motherland,’” Kendrick Lamar told Dave Chapelle of his South Africa trip in a conversation for Interview Magazine. “You feel it as soon as you touch down. That moment changed my whole perspective on how to convey my art.”

Those sentiments might elicit an eye roll or two from many of us who were born and raised in African countries, but it is impossible to dismiss the profoundness of visiting Africa for the first time for those born and raised in the diaspora. Besides, many artists have shown that visits to the continent don’t need to have a weighty reason attached to them to have a deep impact on them. The simple feeling for Black artists to be surrounded by people that look like them, is enough to make one feel at home.

Ari Lennox gushed about being in Ghana for last December’s Afrochella (to some unnecessary backlash), Cardi B has always been effusive about coming to Nigeria in 2019, Chance the Rapper chronicled his Ghanaian trip on Twitter and wants to return with “a bigger group,” Dreamville acts Bas, JID and Earthgang have stayed multiple brief stints in South Africa, collaborating with local rap artists and even tapping Shane Eagle (Bas) and Blxckie (Earthgang) for international tours.

Interestingly, Kendrick Lamar isn’t the first superstar Rap artist to be in Africa on release day. In 2018, close friend and peer J. Cole was in Nigeria on the same day as the drop of his fifth album, ‘KOD’, in obligation of a live show, and he performed a few songs off the project for the first time in front of over 6,000 turnt fans. It would be disingenuous to claim Kendrick is following Cole’s path, since the circumstances of their trips to West African countries are as similar as they are different.

There have not been any scheduled live shows, and beyond the peeks we’ve seen on social media, only Kendrick Lamar, his pgLang co-founder Dave Free, and the crew they travelled with really know reason behind this Ghana trip. From an external standpoint, though, it’s an exhibition of the post-digital era, where artists can release their music without being tethered to their home countries. It’s also an exhibition of autonomy from an artist that continues to carve out his mythos by being meticulous and intentional.

The oft-repeated mantra of “Africa To The World” has somewhat defined the last decade of music coverage on the continent. It wasn’t too long ago that D’Banj and Don Jazzy being spotted with Kanye West seemed like a momentous occasion for the continent, or at the very least, the Nigerian entertainment industry. We don’t have to strain our memories too much to remember the fanfare that Drake’s feature verse on the “Ojuelegba” remix brought, or the pride we felt the morning we woke up to a Shatta Wale & Beyoncé collaboration.

Kendrick Lamar made a calculated choice to be in Ghana for the release of his feverishly anticipated follow-up to a Pulitzer Prize-winning album. Even if you still want to be cynical about the magnitude of this occurrence and its timing, it’s hard to not admit that the best rap artist of his generation choosing to mark a significant point on the timeline of his career in the land that pioneered Highlife, away from the country that birthed him and Hip-Hop, is a flex. It’s a flex for Ghana and Ghanaians, and to a lesser but notable extent, for Africa and Africans on the continent and in the diaspora. While there will always be a clamour for and from African artists to take their music “to the world”, it appears now, more than ever, The World is Coming to Africa.

Stream ‘Mr Morale & The Big Steppers’ below.

Featured image credits/NATIVE


ICYMI: PROJECT RUNAWAY

Hot Takes: AMVCA Fashion, Freddie Gibbs Vs. Benny The Butcher, Sauti Sol & More

There has been no shortage of news emerging as we countdown to the summer. On the Twitter timeline, things have been rather gloomy. Insecurity in Nigeria remains on an all-time high as we draw closer to election season, and even though there’s chatter about relationships and lobsters interspersed with all this, there’s still a sense that globally things are going to get worse before they get brighter.

This week, I’m taking the reins on the column to bring you the hottest takes from all across Elon Musk’s Twitter. From the fashion at the recently concluded AMVCA Awards in Lagos to Freddie Gibbs vs. Benny Butcher, and Sauti Sol’s latest infringement case. Here’s the latest in our world of pop culure. Stay with me as we embark on the ride.

WHAT I’M WATCHING

The year is moving at an incredibly fast pace. Like most adults, I sometimes feel like my ability to consume a large number of films has waned, perhaps due to a low attention span or the terrifying claws of ‘sapa’ urging you on to do something more productive. But let’s be honest: watching movies offers productivity, particularly if you watch movies like I do. I’m all about enjoying films but the technique of storytelling stays with me much longer.

Thus, I watch films that dazzle me with structure and story, something my Netflix subscription has failed to provide recently. Many are criticising the platform’s decline in service and I definitely see it. One thing they however have on this Nigerian is the number of our contemporary films on their backend. I recently saw ‘Ahanna: The Rattlesnake’, the Ramsey Nouah movie everyone has been talking about. It’s a terrifyingly exciting film, even though it falls short in certain areas. The acting and cinematography were especially noteworthy, and I think Mr. Nouah can become a great director if he works with more writers to bring more detail into his films. He certainly has the eye for good stories.

WHAT I’M LISTENING TO

KENDRICK LAMAR, of course. The Compton legend’s new album ‘Mr Morale & The Big Steppers’ has got the entire world on a chokehold, and the man is in Ghana chilling out. Of course, that has not excused the album from scrutiny, especially considering the close reading Kendrick’s music demands and receives. It’s surely a great album, the first time the untouchable MC peels away the veneer of steel to reveal a deeply flawed and introspective human.

‘Mr Morale & The Big Steppers,’ is a unique placement in his discography, no doubt bound to be divisive. Personally, I think it suffers a bit in the replay value aspect but its peaks are glorious, some of the highest of Kendrick’s legendary career. His writing assumes a sharper, with none of the density of ‘DAMN’ or ‘Good Kid, m.A.A.d City’. Rap-wise, he’s the GOAT, showcasing an eclectic arrangement of flows throughout the double album. My favourite songs? A number of them, but surely the quartet of “United In Grief”, “Die Hard”, “Father Time” and “Mirror”.

Lights, Camera, Fashion at the AMVCA

The African Magic Viewer’s Choice Awards (AMVCA) are pretty much the dominant and most consistent of Nigerian film awards. Over the weekend, again they rolled out the red carpet for this year’s award shows. We had written about some takeaways from the announced nominations months ago. No doubt the categories would be keenly contested and debated.

That Sunday night was however attended by a different kind of attention. Fashion. Many attendees to the event felt the need to attempt the avant-garde, from a black gown flowing with skulls to everything else you saw. A small number of people commented that most Twitter users turning fashion critics couldn’t pull off red carpet looks if they were invited.

Which is probably true, but my hot take is…NEVER STOP, NIGERIANS. Keep being fashion critics, Vogue writers have nothing on you. Y’all make the whole thing really entertaining. Don’t trust me? Go through #AMVCA22 on Twitter and know if you won’t keel over in howling bouts of laughter.

WHAT’S ALL THIS NO. 1 TALK?

Last weekend was preceded by songs from many notable Afropop musicians. Icons like Burna Boy and Davido shared streaming spaces with prolific youngsters like Zinoleesky, Ria Sean and Asake, making Friday a particularly heated day for Nigerian music.

“Number one song in Nigeria” was a phrase many used over the course of the weekend, fuelled by the excesses of the two biggest stars who put out music. The subs and buzz were not surprising, not as much as the widespread acceptance of Apple Music as the metric for determining the biggest song in the country. This obviously negates the fact that local listeners are scattered across platforms, of which Apple contributes a small part of.

Personally, I don’t care for the ‘No. 1 song’ narrative, knowing fully well it’s not a level playing field. On the ground, a platform like TurnTable charts offers even more breadth in representing the Nigerian listenership, collaborating with ALL the major streaming platforms, and including radio and TV in their reports. The question of why more musicians aren’t using their stats demands a bigger conversation but please, PLEASE…can we stop with all the number one talk? Let’s discuss the artistry and range on display instead. That’s how the sound grows.

FREDDIE GIBBS VS. BENNY THE BUTCHER

This headline sure reads like a wrestling match-up but these are rappers. Some of the most skilled rappers today who have previously collaborated, uniting their gritty takes on street lifestyle into iconic Hip Hop numbers. However things took a turn recently as news of sustained conflict between them have made the American tabloids over the past week with some reports even dating back months.

According to reports, Gibbs had been throwing shots at Benny over on social media. On Saturday, he was in Buffalo, New York, to perform a scheduled show as part of his Space Rabbit Tour. However, just before he took to the stage, he was jumped inside a restaurant by people believed to be associates of Benny. Video surfaced not long after, and with the crowd, it was obvious Freddie didn’t stand a chance. He went on to perform at the show but with a balaclava which couldn’t cover all the parts of his bruised face.

This act of violence, however light or comical it may be perceived, surely leaves a bad taste in the mouth (no pun intended). Just days after the YSL RICO charges, the rap game is again centring itself in unhealthy ways. And it’s sad that two respectable MCs are at the center of this one. It’ll surely be to the benefit of everyone involved that this is settled as soon as possible, away from the flashing lights and with as much humility as both parties can muster.

CAN MEN AND WOMEN MAINTAIN PLATONIC RELATIONSHIPS

Twitter has risen to become a favoured court of public opinion but don’t trust everything you see there. Over the weekend, a male Twitter user posted a picture of himself and a lady, with the caption: “me and my lecturer’s daughter”. In the comments a host of (mostly) Nigerian men bared their misogyny through a number of lewd comments which suggested a romantic relationship between the both of them.

Sadly, the man encouraged the comments. Not long after he returned with an update, saying the girl’s actual boyfriend had broken up with her and that she was devastated. He deleted the post, but never the consequences. Stories immediately inundated the timeline, something I now group under a folder I’ll call ‘bestie palaver’. In all, a number of men don’t believe a woman can be just ‘friends’ with another man.

Shola, a popular Twitter user, made a post challenging ladies to text something steamy to their male besties. That tweet now stands at 35k likes and 15k retweets. The conversation is surely a divisive one, but mostly lacks nuance. Of course, a number of best friends have sex but there’s such a thing as platonic friendships as well. As wise people say, two truths can coexist. Meanwhile, if you received a risky text over the weekend you’re likely caught in this rocking boat of conflicting opinions. It has nothing to do with you–the game just remains the game.

Sauti Sol seek legal action against Kenyan political group

by Tela Wangeci

On Tuesday, Kenyan Afropop band Sauti Sol spoke out against an illegal use of their song in the naming of Martha Karua as the coalition’s running mate for the upcoming elections. According to reports, Sauti Sol claimed there was an alleged copyright infringement of their song “Extravaganza,” which was used without the group’s permission. In a statement issued on Monday, Sauti Sol accused the Raila Odinga-led Azimio La Moja political group of infringing their right to property.

According to the Music Society of Kenya (MCSK) chairman Ezekiel Mutua, the political group was given a go ahead to use the song. However, further permission was not sough from the song’s owners. The Kenya Copyrights Board (KECOBO) stood with Sauti Sol stating the infringement of copyright as only the owners of the song have the right to flag it off for usage when it comes to audio-visual platforms.

Sauti Sol’s outcry brought to light a number of issues including tyranny in music organisations and lack of public knowledge when it comes to copyright. Since news broke out, Kenya’s Copyright Board has issued a statement which states that the government needed to have obtained a synchronisation license before use of the song. This license can only be issued by the song’s original composer or performer. While we applaud Sauti Sol for speaking up, Kenyan artists should take it upon themselves to learn the workings of the industry as well as their legal rights to avoid abuse from the authorities

Featured image credits/NATIVE


ICYMI: PROJECT RUNAWAY

NCVRD: How Ruby Okoro Created BOJ’s ‘Gbagada Express’

The fisheye lens comes from a long history of experimental photography. American physicist Robert W. Wood first explored with the form in 1906 by combining real-life elements to replicate the effect of looking at surfaces how a fish would see it. It has since occupied the canon of visual creation around music for decades.

For the album artwork of musician BOJ’s sophomore album, Gbagada Express, the Lagos-based visual artist Ruby Okoro utilised this same style to represent the weight of Gbagada’s impact on the singer. “I always try to breathe life into [my work and] make it multi-dimensional,” Ruby said to The NATIVE some weeks ago. “As much as I like creating images, I still have to have those colours, have it kind of distorted. I’m very experimental, so for every project I need to try something new. It’s a personal thing; I use every project to accomplish ideas I have in mind”. 

Born in the southeastern state of Enugu and later residing in Lagos and Rome, Ruby Okoro is as eclectic as they come. His work combines disparate elements from the art found in these influential cities. He asserts that within every project of his “there has to be something that speaks culture”.

Cultural current flows surely on ‘Crystal Visions Of You’, among Ruby’s most recent work. When I inquire the stuff he’s most excited about as a creator, no time is wasted in choosing this. “It’s an idea that stuck with me,” he explains. “Other ideas kind of grew on me, but this was something that was with me since the start.”

Ruby was even better prepared for the BOJ artwork due to his familiarity with the musician’s catalogue. “BOJ DM’d me [earlier this year], in the normal way artists have been DM’ing me to work,” he says. “It was pretty straight, he told me he wanted a cover and sent me a cartoon reference of Tiny Planets. And like I said, I always have ideas so I’ve been waiting for someone to fully experiment with the Tiny Planets,” he says.

It was fated as Ruby had previously delved into the Tiny Planet aesthetic. From there, the pair began conceiving the inception of what is now the cover to ‘Gbagada Express.’ Ruby shares, “That’s where my vision now comes into light: me talking about how I want the cover to look, the font and all that. Then him looking through the back as the back cover, then the rollout video, him riding through Gbagada.”

“I PICKED PROMINENT PLACES THAT MEANT SOMETHING, THAT REPRESENTED GBAGADA AS MUCH AS HIM…IT DIDN’T FEEL FORCED SO I KNEW HOW TO VISUALLY REPRESENT HIM.”

The vision was to keep the artwork close to BOJ’s roots. It was Ruby’s decision to feature landmarks within the central Lagos area. “I rode around that day, sourced out locations, places I’ll love to use. There’s an image with him standing on the express as well–that’s the Gbagada Express. I picked prominent places that meant something, that represented Gbagada as much as him. And also that church, too. I think that’s a popular place in Gbagada. So it still boils down to having a touch of me in the work.” 

Speaking to Ruby about BOJ, it’s easy to see why the pair created such an iconic cover. The musician’s laidback vibe eased him into the faster paced world of music, and art was the priority. “It’s BOJ now,” he says lightheartedly when I ask how the textures of sound influenced his own creative choices. “I’ve been listening to BOJ’s music for a while. It didn’t feel forced so I knew how to visually represent him,” he says. “It’s something else when it’s a fresh act coming to you to shape how they’re visually represented [against] someone who’s been in the culture and who’s doing what he’s doing. For visual artists, if you know what’s up you can nail it.”

Okoro also wanted to capture the peculiarities of BOJ’s everyman personality. “The styling was very homely. It felt like a boy in the hood thing. He wasn’t rocking jewellery, he wasn’t dripped out. I wanted to show a normal BOJ, just waking up, riding his bicycle to go and buy Agege [bread] or something,” he shares with the NATIVE. 

Speaking about the music on the album, Okoro shares that “It’s a blend of everything and I fuck with it,” he says. “I fuck with how he also has the remix that he didn’t release; it’s kind of fresh. ‘In A Loop’ is a jam, that shit is on repeat every single time. ‘Owo Ni Koko’ is a jam too. It’s why I say you can never go wrong with BOJ. He’s like one of those guys that are your favourites’ favourite, but they won’t tell you. They’ll just lock it up and face their front. But if you know you know.” 

Ruby tells me that he began creating right from early childhood. He loved sketching and drawing and would later on dabble in music production. He won some writing competitions in high school. Photography came much later. “That felt like the best way to express everything,” he says. His sights set on going professional by 2017, he began creating images which held one spellbound, coloured by community and mystery in ways peculiar to Ruby. VSCO began paying him not long after. “Just for being hard,” he chips in with a laugh. He knew then he had something special. 

He grew into his creativity and with that, more clients came calling. His ascent within Nigerian art circles coincided with the primal stages of the alté counterculture. Lady Donli was an early collaborator, modelling for Ruby’s hybrid project, Wetin You Sabi?’The brilliance of contemporary visual artists unarguably contributes to the growing relevance of creative direction across entertainment, especially for musicians like BOJ.

As Afropop launches further into deep pockets of global pop culture, more musicians are in need of cohesive presentation. Ruby’s trademark flourishes have created compelling portraits of Teezee, Oxlade and Mavin Records signee Magixx. 

Featured image credits/NATIVE


ICYMI: PROJECT RUNAWAY